Today, I'm sharing a short cycle of piano pieces paying homage to the life and legacy of legendary Russian classical composer Sergei Rachmaninov. Written by Russian-American pianist Vladimir Drozdov, Au tombeau de Rachmaninoff (Fr. "At Rachmaninov's Tomb") is written in three parts:
I. Dies Irae — Composed on the day of Rachmaninov's death, this piece is built around the dies irae theme originating from Gregorian chat and found in the works of many influential composers, most famously in Liszt's Totentanz (concert piece for piano and orchestra). Tender and somber in its expressiveness, the first piece is a mourning song.
II. Epitaphe — The second movement is exactly as the title indicates; Drozdov has written the metaphorical musical epitaph for Rachmaninov's tombstone. Rachmaninov's fondness for polyrhythm, superposing chords, and rapid flourishes are all present in this simultaneously violent and delicate writing.
III. Psalmodie du printemps (Fr. "Chant of the Spring") — The last piece of the cycle feels like a canzone, a simple song that (to me) symbolizes the acceptance of loss and celebration of Rachmaninov's life, as the person, the pianist, the conductor, and the composer. Drozdov again imitates the characteristics of Rachamaninov's own compositions, especially the Preludes, the Etudes-Tableaux, and the slow movement of his Piano Concerto No.3.
Hope you enjoy these pieces and leave your thoughts below!
I. Dies Irae — Composed on the day of Rachmaninov's death, this piece is built around the dies irae theme originating from Gregorian chat and found in the works of many influential composers, most famously in Liszt's Totentanz (concert piece for piano and orchestra). Tender and somber in its expressiveness, the first piece is a mourning song.
II. Epitaphe — The second movement is exactly as the title indicates; Drozdov has written the metaphorical musical epitaph for Rachmaninov's tombstone. Rachmaninov's fondness for polyrhythm, superposing chords, and rapid flourishes are all present in this simultaneously violent and delicate writing.
III. Psalmodie du printemps (Fr. "Chant of the Spring") — The last piece of the cycle feels like a canzone, a simple song that (to me) symbolizes the acceptance of loss and celebration of Rachmaninov's life, as the person, the pianist, the conductor, and the composer. Drozdov again imitates the characteristics of Rachamaninov's own compositions, especially the Preludes, the Etudes-Tableaux, and the slow movement of his Piano Concerto No.3.
Hope you enjoy these pieces and leave your thoughts below!
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