Rachmaninov Prelude op 32 n 5

[costicina]

Still a work in progress. Your criticism, advices, suggestions will be so welcome to help me improving and refining  it!
Thanks you in advance

[rachfan]

Hi Marg,

You've made a very good start on this piece.  You've got the fundamentals pretty much in place.  

I've played this piece.  It's not easy!  I believe that Rachmaninoff's "program" was to depict a bird soaring on the air currents high in the sky.  Occasionally, the bird loses some altitude so flutters its wings to regain it.  This lovely piece was composed in August 1910.

Here are some of the main points to keep in mind:

To produce the tonal picture, the cantalena in the right hand has to be carefully phrased, and the touch is delicate and dolce throughout the piece.  Right now, one of the things you need to work on is keeping the rhythm precise--whenever the bird flutters it's wings, for example. It all has to fit within the meter.  On those flutters, they are 32nd notes so must be more rapid!  This is a place where the metronome can earn its keep. Lift the wrist after each phrase while executing the flutters. The challenge of the left hand is keeping it even at all times.  Having said that, the RH melody must flow regardless of the activity in the LH.  And this point is so important: Don't overplay the dynamics!  Except for one climax marked f, the dynamic range is only ppp to p.    

On page 3, line 2 where the small notes short cadenza is played, Horowitz used to take the first two notes of each ascending figure with the LH and the following notes in the RH. In other words, he used to redistribute the notes between the hands.  For example, in the second figure, the C# and following A would be in the LH.  Note: The whole cadenza is played leggiero and without pedal. None.  You have to be more confident with the notes before adding the leggiero touch. Toward the end of the cadenza you can play it ad libertum if you wish.

In Late Romantic music often trills are slow trills.  So in the third line on page 3 in the measure marked perdendo (dying away), this particular trill in the RH is very leisurely, just enough to extend the sound or to "keep it going".

On the fourth line down, the second half of that measure has to sound very nostalgic at the pp marking the low bass C-G double notes.  Rachmaninoff doesn't indicate that, but it sounds best that way.

On page 4, line 3, the double notes in the RH need to be very legato and even.  Because the LH figuration initiates polyrhythms, there  needs to be a fine independence of the hands and fingers there.  The ultimate aim there is to produce a sinuous sensuality to the ear.

Page 4, last line: From the 3rd line leggiero, the only pedaling is the first note of each polyrhythm only (not the entire polyrhythmic figure) until the start of the long trill in the coda.  For that trill, incidentally, Horowitz used fingers 2 and 4 in the RH.  In the very last measure of the coda, the voicing is the top notes in the RH.  

A note on pedaling: All pianos and rooms are different, but there are some LONG pedals in this piece. Plus Rachmaninoff seldom wrote pedaling directions in his scores.  But for examples:

On page 1, line 1, measure 1, depress the pedal before even playing the notes.  This piece is atmospheric, so requires that anticipatory pedal be used there.  Don't lift it until the dolce in that line. On line 2, the pedal is depressed for most of the first measure taking the last A in the RH in a new pedal because a new phrase starts there lasting until the end of the line.  In the third line almost all of it is taken in one pedal, but the leggiero fluttering wings at the end of that line is taken in its own pedal, and each of those same figures gets a fresh pedal.  So you get the idea. Caution: If at any time in a long pedal you hear too many overtones building, you can do a half-pedal release to spill them to maintain clarity as necessary.

If you're curious about my own rendition of the piece (a 1989 analog recording), here is the link:

https://www.pianostreet.com/smf/index.php/topic,18462.0.html

Turn down the volume, as the volume input level was set too loud during recording.

Keep practicing! It's coming along well. I hope these comments are helpful to you.  

David



 

[costicina]

Thank you so much, David!!!! Your detailled insights and advices are pure gold for me. I always learn so much from you, great and generous teacher....

And of course, your performance of the piece is amazing (oh, your trills, and those 'flutterings' which are my desperation!!!!).
Thank you again, you motivated and inspired me: I'll try to polish the piece following your precious suggestions

[rachfan]

Hi Marg,

You're entirely welcome!  I'm always glad to help if I can.

Glad you enjoyed my old recording too.

David