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Hyperion Records

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Prince Elisei begs the moon to help him find his betrothed.
Track(s) taken from CDH55209
Recording details: August 1989
St Martin's Church, East Woodhay, Berkshire, United Kingdom
Produced by Andrew Keener
Engineered by Tryggvi Tryggvason
Release date: August 1990
Total duration: 21 minutes 57 seconds

'A worthy continuation of Hyperion's Rachmaninov series' (BBC Music Magazine)

'First-rate playing, splendid sound, value for the money' (American Record Guide)

'Shelley and Macnamara find the necessary eloquence to bring life to the descriptive passages of the First Suite, and a real driving energy for the Second. The Symphonic Dances works beautifully for two pianos, and is played with consistently compelling sensitivity and flair' (Classic FM Magazine)

'Their readings are superb, and Hyperion has captured them with crystal clarity' (Classic CD)

Suite No 1 'Fantaisie-tableaux', Op 5

Barcarolle  [7'21]
Les larmes  [5'15]
Pâques  [3'02]

Introduction  EnglishFrançaisDeutsch
As part of his composition graduation from the conservatoire in 1892 Rachmaninov composed a one-act opera, Aleko – an impressive piece for an eighteen year-old, so much so that Tchaikovsky himself used his influence greatly to further Rachmaninov’s career by endorsing the premiere of the opera at the Bolshoi in a double-bill with one of his own operas, and by encouraging the publisher Gutheil to take the younger composer’s works.

Aleko was premiered at the end of April 1893, and during the next few months Rachmaninov wrote his Fantaisie, subtitled ‘Tableaux’ – the Suite No 1 for two pianos, Op 5. Nikolai Zverev died in Moscow on 30 September 1893, and at his funeral Rachmaninov mentioned the Fantaisie to Tchaikovsky. A few days later he showed him the score and received permission to inscribe the work to Tchaikovsky after playing it through privately to him with his fellow-pupil Pavel Pabst; Tchaikovsky agreed to attend the premiere the following month to be given by Rachmaninov and Pabst, but died in St Petersburg on 25 October – the premiere was thus poignantly overshadowed. By 15 December Rachmaninov had written his second Trio élégiaque (Op 9) in Tchaikovsky’s memory; his concurrent Morceaux de salon for solo piano (Op 10) were inscribed to Pabst.

The movements of Rachmaninov’s Fantaisie (now widely known simply as Suite No 1) each carried epigraphs, and form a succession of moods, from the opening dreamy ‘Barcarolle’ to love, tears and – in the finale – joy. In a letter to his cousin Natalia Skalon during the composition of the work, Rachmaninov wrote: ‘I am occupied with a fantasy for two pianos, which consists of a series of musical pictures.’ Curiously, he also said that the third movement was inspired by funeral bells: the finale is a clattering evocation of a Russian Easter, more akin to Stravinsky’s Petrushka than to Rimsky-Korsakov’s overture, although on hearing the piece Rimsky-Korsakov suggested to Rachmaninov that the traditional chant ‘Christ is risen’ (which is incorporated in the music) should have first been stated alone. Rachmaninov stuck to his guns, claiming that in reality the chant and the sound of bells were always heard together.

from notes by Robert Matthew-Walker © 1990

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