Etudes-Tableaux

Abstract

The quantity and numbering of these Etudes is confusing because Rachmaninov withdrew three of the original nine prior to publication. The original nine were as follows: #1 in f minor, #2 in C major, #3 in c minor, #4 in a minor, #5 in d minor, #6 in e-flat minor, #7 in E-flat major, #8 in g minor, and #9 in c-sharp minor. Rachmaninov withdrew numbers 3 in c minor, 4 in a minor and 5 in d minor. The a minor Etude, originally number 4, was included in the Etudes-Tableaux, Opus 39 as number 6, and the other two, in c minor and d minor were published posthumously. The resulting set of Etudes-Tableaux, Opus 33, thereby became a set of six, #1 in f minor, #2 in C major, #3 (formerly #6) in e-flat minor, #4 (formerly #7) in E-flat major, #5 (formerly #8) in g minor, and #6 (formerly #9) in c-sharp minor. The two posthumously published Etudes are now usually reinstated in the set between numbers 2 and 3, creating a set of eight Etudes. The style is identical to that of the Préludes, Opus 32, and, in fact, there is little technically to differentiate these pieces as distinctly Etudes rather than Préludes. On the other hand, the powerfully declamatory mood of these works seems to give them a more epic scale than the Préludes in spite of their similar length. This is presumably because of Rachmaninov's intention that these be more than just studies, but also "Tableaux" (pictures). #1, in f minor. This is a march in Rachmaninov's usual style. It is actually easier to play than most of the Préludes. #2, in C major. A lovely Nocturne, similar in mood and style to the Prélude Opus 32 #12. The right-hand melody soars above an arpeggiated left hand. Again, an Etude of only moderate difficulty. #3, in c minor (published posthumously). This is a slow and stately elegy. The second half in C major is less severe. Rachmaninov used the closing bars in the middle movement of his Fourth Piano Concerto, which may explain its withdrawal from the original set. #4, in d minor (published posthumously). Driving rhythms propel this staccato chord study. Brilliant and effective, it is unknown why Rachmaninov withdrew it from the original set. #5, in e-flat minor (originally #6, published as #3). Complex rapid figurations are the main feature of this breathtaking and difficult study. The harmony is fleeting and chromatic. #6, in E-flat major (originally #7, published as #4). Strongly reminiscent of the E major Prélude Opus 32, #3, this Etude is a brilliant and vigorously exciting March. #7, in g minor (originally #8, published as #5). This is an elegiac Nocturne that gradually builds to a dramatic and declamatory central cadenza. The shortened reprise builds to another climactic cadenza before the hushed final chords. It is an extraordinarily original conception. #8, in c-sharp minor (originally #9, published as #6). Rachmaninov makes effective use of the shift between major and minor sonorities in this bold and declamatory piece. The overall mood is tragic and powerful. These Etudes are somewhat longer, more difficult, and more obviously Etudes than those of Opus 33, even though the poetic aspect of the "Tableaux" is still present. They are without exception extraordinarily difficult. #1, in c minor. Flying triplet figurations span the keyboard in this propulsive and driven Etude. There are two powerful climaxes; each preceded by rapidly repeated chords. #2, in a minor. Here Rachmaninov indulges his love of the "Dies Irae" chant, embedding it in the accompaniment of this tragic and powerful Elegy. A contrasting central section builds to a climax that dissipates in chromatic passages before returning to the reprise of the opening. #3, in f-sharp minor. This Etude has interesting and unusual metrical groupings of its underlying triplet rhythms. Combined with the fleeting nature of the figuration, this makes it particularly difficult to develop a sense of a regular beat. The result is effective, if somewhat unsettling. A cadenza ends the piece quietly. #4, in D major. A march-like work with shifting meters. Rachmaninov originally gave no time signature, but most editors have inserted them for the performer's convenience. The Etude is primarily a study in repeated notes and staccato chords. It is one of the less effective pieces in the set. #5, in e-flat minor. This Etude is a somber and grand work, almost too epic in mood for its scale. A powerful theme is played against triplet chords in the main section, while the contrasting middle section features a longing melody accompanied by widespread arpeggiations. The build-up to the return of the main theme is highly effective, and results in an extraordinarily powerful climax. #6, in a minor. Originally part of Opus 33, this Etude's large scale and extreme difficulty seem more appropriate to this set. This exciting and aggressive piece features alternating sections of rapid staccato chords and tricky sixteenth-note figurations. #7, in c minor. An elegiac work that starts out with slow, sustained passages followed by a driving and march-like section. The repeated chords of this passage build to a sonorous climax before subsiding for the quiet ending. #8, in d minor. This beautiful work has an underlying rhythm that makes it sound much like a Barcarolle. The harmonies are lush and romantic, supporting the sparse melodic material, which is constructed primarily of a repeated motive. There is something of a build-up to a subtle and understated climax before the interesting and staccato reprise of the main material. #9, in D major. Much like the final Prélude of Opus 32, this Etude uses material from the other pieces of the set. It is primarily a chord study, ostensibly dramatic, but not highly effective, and somewhat anticlimactic when the entire set is performed as a whole.