zygis on Apr 7th, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 9 in D major
By Alexander Gavrylyuk
By Pavel Raikerus
By Sviatoslav Richter
By Vladimir Horowitz
By Vladimir Ashkenazy
By Nikolai Lugansky
Etude – tableaux Op. 39 No. 9 in D major sheet music
zygis on Apr 7th, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 8 in D minor
This piece is a lyrical and musical study of double notes. It requires precise pedaling, flexible and independent figures, and agility. The piece has very long, defined legato melodic lines that are contrasted by a staccato middle section.
zygis on Apr 7th, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 7 in C minor
By Alexander Gavrylyuk
By Vladimir Kuznetsov Venue
By Vladimir Ashkenazy
By Sviatoslav Richter
By Nikolai Lugansky
Etude – tableaux Op. 39 No. 7 in C minor sheet music
zygis on Apr 7th, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 6 in A minor
This aggressive and daunting piece opens with threatening chromatic octave runs low on the keyboard, answered by quick, chattering treble figures that eventually transform themselves into a march. The music grows hectic and, having reached presto, sounds nearly out of control. The effect of the piece is seemingly mysterious yet fully unified. Referred to as “Little Red Riding Hood and the Wolf”, the piece ends with the chromatic runs sounding as though the wolf swallowed Red Riding Hood whole.
zygis on Apr 2nd, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 5 in E-flat minor
By Evgeny Kissin
By Alexander Gavrylyuk
By Alexei Sultanov
By Vladimir Horowitz
By Nikolai Lugansky
By Vladimir Ashkenazy
Etude – tableaux Op. 39 No. 5 in E-flat minor sheet music
zygis on Apr 2nd, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 4 in B minor
By Alexander Gavrylyuk
By Sviatoslav Richter
By Vladimir Sofronitsky
By Nikolai Lugansky
By Vladimir Ashkenazy
Etude – tableaux Op. 39 No. 4 in B minor sheet music
zygis on Apr 1st, 2009Sergei Rachmaninov Etude – tableaux Op. 39 No. 1 in C minor
This agitated, passionate étude exploits some of the piano’s resources almost unrelentingly, demanding a tireless right hand, an often daringly syncopated left hand and considerable dexterity to illuminate inner voices. Technically, the music is in an almost continual climax. It bares a resemblance to Chopin’s Prelude in E flat minor.
