Rachmaninov's Interview- from Musical Observer(1927)

[martha argerrrrrich]

Interesting.....I came across this...

Sergei Rachmaninov

Rachmaninov Is Reminiscent
Complete interview with Sergei Rachmaninov first published in May of 1927 in The Musical Observer

by Basanta Koomar Roy

Among composers, Rachmaninov looms large. While it seldom transpires that one gains equal distinction as a composer, and a pianist, yet this may be said of Rachmaninov. In the course of the next hundred years or so the excellence of his piano playing will no doubt have become mythical, but the message of his musical compositions for the orchestra, for the voice and for the piano will still remain as cherished treasures of mankind.

One fine morning not long ago, I found myself, by appointment, in the spacious studio of Rachmaninov overlooking the Hudson. In this quiet and contemplative room where the master did much of his composing, we talked of many things. In the course of our conversation I asked the master musician from Moscow how he first gained recognition as a composer, for this is one of the most difficult things a young composer has to contend with.

S.R.:  When I was studying piano at the Moscow Conservatory of Music, I felt within myself the impulse to compose. So I studied the science and art of musical composition with Professor Tanieiev and Arensky. And during my year of postgraduate work, composed my first opera, Aleko. I was very much encouraged by Tschaikowsky. He was so kind and helpful to me as a composer that he even came to the rehearsals of Aleko to assist with his vast store of wisdom, knowledge and experience. Aleko was first produced in April 1893 at the Grand Theatre of Moscow. I was then twenty years old. With Aleko I made my bow to the world as a composer. It was well received by the critics and the public. This gave me the incentive to continue with my composition.

And under the incentive provided by that early appreciation for my opera, I composed during the summer of the same year The Rock (an orchestral fantasy); The Prayers of the Ever Watchful Mother of God (a choral work); Six Songs, one violin piece, and my first Suite for two pianos. Tschaikowsky died in October of that year and my deep sense of bereavement moved me to write my Trio Elegiaque (Op. 9, a la memorie d'un grand artiste) for piano, violin and cello. So you see the year of my debut as a composer was rather a strenuous one. I composed several serious things after this, but strange to say, a small piano piece, the C- sharp Minor Prelude, made me known in many lands.

B.K.R: Some people would like to call you Mr. C Sharp Minor. (The master laughed. This was the first time that I found the melancholy musician could laugh so heartily.

Finding him in such a good mood I was encouraged to ask him how he got his inspiration for the C-sharp Minor Prelude as well as the various sources from which he derives inspiration.)

S.R.: One day the Prelude simply came and I put it down. It came with such force that I could not shake it off even though I tried hard to do so. It had to be Ý so there it was. And I also remember that I received only $20 for it. The piece was printed and sold in large quantities throughout the world but I never received any further compensation. The recognition which the piece brought me, however, was worth considerable.

Source of Inspiration

S.R.: It is most difficult to analyze the source of inspiration for compositions. So many factors work together in creative work. Love is certainly a never failing source of inspiration. Love inspires as nothing else does. To love is to gain happiness and strength of mind. It is the unfoldment of a new vista of intellectual energy. The beauty and grandeur of nature helps. Poetry inspires me much. Of all the arts I love poetry the best after music. Our Pushkin I find admirable. Shakespeare and Byron I read constantly in the Russian. I always have books of poetry around me. Poetry inspires music Ý for there is so much music in poetry. They are like twin sisters.

Everything of beauty helps. A beautiful woman is certainly a source of perpetual inspiration. But you must run away from her, and seek seclusion, otherwise you will compose nothing Ý you will accomplish nothing. Carry the inspiration in your heart and mind; think of her, but be all by yourself for creative work.

Real inspiration must come from within. If there is nothing within, nothing from outside can help. The best of poetry, the greatest of painting, the sublimest of nature cannot produce any worthwhile result if the divine spark of creative faculty is lacking within the artist.


B.K.R: How does painting affect you?

S.R.: After music and poetry, I like painting the best.

B.K.R: I know painting was responsible for your symphonic poem, The Island of the Dead. Where did you see the painting first?

S.R.: I first saw only a copy of the famous painting of Boeklin at Dresden. The massive architecture and mystic message of the painting made a marked impression on me, and the tone poem was the outcome. Later I saw the original painting in Berlin. I was not much moved by the coloring in the painting. If I had seen the original first, I might not have composed my Island of the Dead. I like the picture best in black and white.

B.K.R: This tone poem was my first acquaintance with you as a composer. I admired it so much that Mr. Stransky was gracious enough to play it a second time the same season, only at my most humble request. It stirred something within me. I wish I could hear it played once by Stokowski with his Philadelphia Orchestra. At times he accomplishes such uncanny feats through his orchestra. And this is an uncanny piece of music born of an uncanny painting. By the way, what about other noted composers in Russia today?

S.R.: The Russian school of music is one of great significance. The world is slowly waking up to the fact, too slowly, it seems to me. The boycott of German music during the war, a thing quite injurious in itself, has, however, helped people to seek and find classical music beyond the borders of Germany and Austria. Besides others we have today Medtner and Glazounoff. They are well worthy of consideration. During my lifetime we have lost Tschaikowsky, Rimsky-Korsakoff and Scriabine. I told you before that after the death of Tschaikowsky I composed my Trio Elegiaque. After the death of Scriabine I toured all over Russia playing his compositions as my humble homage to that great master of music. As for Rimsky-Korsakoff I tell you that when I was obliged to leave my home and my beloved Russia after the Bolshevik revolution, I was allowed to take with me only 500 roubles each for my family of four, and of all the music I had, I chose to carry with me only the score of Rimsky's Coq d'Or.

Russian Music

S.R.: It is true that Russian music is very little known in America, but its influence is felt all over Europe. Take Debussy, for instance. He is intensely influenced by Rimsky-Korsakoff. It is not plagiarism in the case of Debussy, for he was a musical genius himself Ý it was only influence. Just as a poet is influenced by another poet. Perhaps Tagore has influenced many young poets in India.

B.K.R: Yes, influenced quite a few, not only in writing verse, but also in the dressing of their hair.

S.R.: That's exactly what I mean by influence.

B.K.R: Many of our artists have gone through various vicissitudes of fortune before they arrived. I am wondering what has been your lot in this respect.

S.R.: I had my full share of sorrows, sufferings and privations. Though born in a wealthy family I soon discovered that I had to support and educate myself. Something went wrong with our family fortunes. So trouble began. As a boy I made good progress in music and began giving lessons in piano when I was only sixteen years old. It was necessary for me to earn money by this means in order to continue my musical education. I charged seventy-five cents an hour. And in the first month I earned about fifty roubles. I was glad for this teaching experience. In order to be able to teach conscientiously I had to know much more than my pupils, and I learned how to solve many problems of technic. My forced pedagogy was certainly a blessing in disguise in my development. For I am proud to say that I am a self-made musician. So after much trial and tribulation, when appreciation came I was happy. My second opera, The Miser Knight, gave me the first real start in life.

But whenever I think of my career as a musician I cannot forget the patronage of Tschaikowsky. He thought I had talent; so he encouraged me and helped my development. At the premiere of my first opera, Aleko, he desired that his one act opera, Iolanthe, might be produced along with my first attempt. I was indeed proud of the compliment thus bestowed. You really cannot realize what it meant to me then. The great Tschaikowsky, our national musical hero, wished that his opera might be produced with mine. I was simply intoxicated with joy. And I tell you that patronage from such a great musical figure certainly did help me in carving out a career for myself. Tschaikowsky was a dynamic personality, even as Chekov."

B.K.R: You have raised a question by the use of the word personality about which there is much diversity of opinion. It is claimed in certain musical quarters that the personality of a musician has little to do with his success. What is your opinion?

S.R.: The personality of a musician has a great deal to do with it. If personality does not count, then why not listen to the phonograph or radio? Why go to concerts at all? Take one concrete example. Mr. Kreisler has a tremendous personality. He comes on the stage, he plays and conquers. Now suppose at one of his concerts he played from behind a curtain. Do you think the audience would enthuse as much as is usually the custom?

B.K.R: No, I don't think so.

S.R.: Then you agree with me. The personality of a musician influences the audience, consciously or unconsciously, in the appreciation of music. In the enjoyment of music human hearts play a more important part than human brains.

B.K.R: Do you think that you would have been a success as a pianist if you were handicapped by some physical deformity, even though your playing remained the same?

S.R.: Under such conditions I would have been a dismal failure even if I played a hundred times better than I do today. Take the case of an actor like Stanislavsky, the founder of the Moscow Art Theatre. If he had a deformed body and yet acted much better, he would have been a failure just the same. As for composers and dramatists it is quite different. If I were deformed and could not play the piano in concert, I might have composed greater symphonies, greater operas and greater concertos. There are always compensations. That's why I insist that personality has a great deal to do with the success of a musician who appears in public.

Musical Future of America

While talking about America I asked this distinguished Russian what he thought of the musical future of this country.

S.R.: America has a great future musically. Today we see only the beginning of a new musical age here. All great musicians from Europe are coming here and contributing their share for the advancement of music in this country. It is a misfortune for Europe, but it is a great thing for America. Perhaps a greater music is to be born in this country, where they manufacture such excellent pianos. But I am sorry to say that there is not an organized national effort to c-ordinate America's musical forces for the highest good of the land.

The first thing I would do were I in a position of authority, would be to establish a National Conservatory of Music in a building quite in keeping with the financial resources and international dignity of this country. Then I should make that the radiating center of the highest and purest in music. For three years as the Vice-President of the Imperial Russian Music Society, I did similar work in Russia.
Rachmaninov lives a very quiet and simple life. He shuns luxury and costly habits in every shape and form. He is absorbed in his art and devotes much time to reading, playing and gardening the summer time. He is seldom seen at concerts. But when his old friend Chaliapin sings, or when Medtner plays, it is hard to keep him away.

He is very devoted to the theatre. In his youth he was a great admirer of Chekov. He is a friend of the players of the Moscow Art Theatre. I remember what a stimulating sight I saw one afternoon in the Artists' room after a Rachmaninov concert at Carnegie Hall, New York. There stood in a corner a huge glittering laurel wreath in green, gold and white, presented to the master pianist with the cordial greetings of the Moscow Art Theatre. The actors and actresses from the greatest theatre of the world led by stalwart and handsome Stanislavsky, almost surrounded him. Some of the men kissed him, and he them in real Russian style. They exchanged a few words in the tempo of a chant before an altar. Then for a minute or two they spoke not a word. The Moscow players simply looked at the great Moscow musician in reverent silence. Such devotion, such poise, such childlike sincerity, I never saw before, even on the stage of the Moscow Art Theatre. The actors surpassed themselves. Then they gently walked away one by one, like so many children, sad at parting from their playmate. The master's gaze was fixed on them, and he waved at the last actor who looked back as he went out of the door. I watched this bit of drama in life with breathless wonder, and I am not ashamed to admit that the sanctity of the scene moved me to tears. And from the quick movement of his eyelids I could notice that the master's eyes were not altogether dry either.

I shall never forget this one act play of the Moscow Art Theatre, Rachmaninov playing the part of the hero. It was more than a play, it was a sacrament. I was doubly happy to see the dramatic mightiest in Russia paying homage to the musical mightiest of Russia in such a solemnly unique way. It was certainly a fitting tribute most worthily paid to the maestro of Moscow.

[pianistimo]

dear marthaargerrich,

thanks so much for copying all this.  it was good reading! 

[Motrax]

Indeed, thank you!

[tompilk]

thanks a tonne!
Tom

[BoliverAllmon]

thanks

[martha argerrrrrich]

you are Welcome! 

Interesting to read what Rachmaninov thought about beautiful woman...mmm...

[pianowolfi]

I thought I would bump this up. 

[0range]

I thought I would bump this up. 

Good idea. Great read.

[elevateme_returns]

fascinating! cant believe i didnt see this

[jacobwynn]

I love Rachmaninov and I found this article very interesting and enjoyable: thank you for the reprint.
Especially, I was interested in what Rachmaninov said about the prersonality of the performer: pianist as hero, maybe!