Classical Music | Soprano

Sergei Rachmaninov

V molchan’i nochi taynoy (In the silence of the secret night), Opus 4, No. 3  Play

Sarah-Jane Brandon Soprano
Nathan Brandwein Piano

Recorded on 07/01/2010, uploaded on 10/24/2011

Musician's or Publisher's Notes

Composed during 1890-92, the Six Songs, op. 4 was Rachmaninoff’s first collection of songs to be published. The years of its composition, however, were difficult for the composer. He was facing the end of his tenure at the Moscow Conservatory—taking his final piano examinations in the spring of 1891 and receiving his diploma in May of the following year. His living arrangements with two other piano students, however, made it difficult for him to find quiet moments to compose. He eventually found the quietude he needed when he took up residence at his family’s country estate. There many of his most famous works were to be composed.

The third song of the set, “In the silence of the secret night,” on a text by Afansij Afanas'evic Fet, is a passionate telling of infatuation and the first blossoms of excited love. The poet finds himself overwhelmed by the images of his beloved and repeating to himself the things he has told her—and then whispers her name to welcome the night’s darkness. Composed in 1890, Rachmaninoff’s setting opens in a tender and affectionate D major, quietly and with pulsating chords and descending sixths that capture the rapturous emotional state of the poet. The voice then enters with its somewhat fragmentary melody that at times transitions into beautifully affectionate moments, but overall gives expression to the poet’s inability to remain idle upon one thought or aspect his beloved, but lets his imagination fly from image to image. Midway through the song, the piano abandons its anxiously pulsating chords for a rippling accompaniment of arpeggios underpinning a vocal melody that builds to a powerful and exuberant climax. The pulsating chords return in the song’s final stanza but are quickly transformed into an optimistic motif that brings the song to a tender and hopeful conclusion.       Joseph DuBose


Steans Music Institute

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