Sergei Rachmaninoff - Isle of the Dead, Op. 29 (1909)
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- Опубліковано 29 лип 2022
- Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 - 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he made a point of using his skills as a performer to fully explore the expressive and technical possibilities of the instrument.
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Isle of the Dead, Op. 29 (17 April, 1909)
Dedication: Nikolay Gustavovich Struve (1876-1920)
Royal Concertgebouw Orchestra, conducted by Vladimir Ashkenazy
Isle of the Dead (Russian: Остров мёртвых), Op. 29, is a symphonic poem composed by Sergei Rachmaninoff, written in the key of A minor. He concluded the composition while staying in Dresden in 1908. It is considered a classic example of Russian late-Romanticism of the beginning of the 20th century.
The piece was inspired by a black and white reproduction of Arnold Böcklin's painting, Isle of the Dead, which Rachmaninoff saw in Paris in 1907. Rachmaninoff was disappointed by the original painting when he later saw it, saying, "If I had seen first the original, I, probably, would have not written my Isle of the Dead. I like it in black and white."
Description by Robert Cummings [-]
Described by Stravinsky as "six feet two inches of Russian gloom," Rachmaninov was attracted by the Dies irae theme, a melody used in the Roman Catholic Mass for the Dead, or Requiem Mass. He very frequently quoted or alluded to this theme in his compositions, including the The Isle of the Dead, regarded as the quintessential expression of the composer's melancholy. This work was inspired by the painting by Swiss artist Arnold Böcklin. Böcklin's haunting painting depicts an island, in front of which stands a barricade of stones. Further out from it, jutting high out of the sea, is a huge rock, within which are large chambers for the dead. A boat can be seen on the waters operated by a black-clad helmsman, whose white-robed passenger stands ghost-like. Rachmaninov's composition begins with rhythmic motif played by muted cellos and harp, suggesting the movement of the dark waters near the barricade surrounding the lifeless isle. A somber second theme, presented by French horn, reinforces the despondent mood. Soon there are hints of the Dies irae theme, after which the opening motif returns. The music then becomes restless and intense, the tempo increasing, orchestral colors appearing. A climax is reached and the material from the opening reappears, now fuller and agitated. Finally the music subsides, but afterwards there are more allusions to the Dies irae melody. A new theme appears, on strings and reeds, and rises to an impassioned climax, the music yearning, struggling, it seems, to offer some consolation or hoping to escape this strange world. A further climactic episode ensues, after which the fragment of the Dies irae once more dominates this grim musical landscape. Afterward the music fades, and the dark material of the opening returns. Just before the ending there comes a nearly full statement of the Dies irae melody.
I think what is particularly amazing about Rachmaninoff’s writing here is that he manages to create such an engaging narrative that still holds to the atmosphere of the original painting. It’s an adaptation of a work as a movie adapts a book.
Death rows a white figure to the Isle of the Dead. As the figure approaches the island it becomes clear what the island is. Life is remembered. Love is felt again, as is, beauty, wonder, warmth, cold, hate, and fear. In the devastating climax at 15:15, the figure crosses over and the journey has ended.
But we the listener are left behind. We don’t get to glimpse the other side of the island. Instead, we watch as death collects himself and rows back out into the water.
Now, I obviously don’t know what Rachmaninoff was thinking when he wrote this. Who knows how many times he even saw the painting? It’s not like he could search it online. (Although, maybe he had a print of it. And I think there are multiple versions of it) But these are just my thoughts on the piece. And as a composer who also adapted a panting to orchestra a few years ago, I have a special interest in this sort of transformation. Thanks for readin’.
This is truly the highest tier of orchestration imaginable. The complexity of emotions swirling around in each and every bar, is remarkable.
Exactly what I was thinking. The texture, density of sound, and sonic effects he creates, you think to yourself - how can you even come up with this?
Though it's not bad, I would say he is easily surpassed in orchestration skills by many composers, such as, Wagner, Mahler, Richard Strauss, Franz Schreker, Erich Wolfgang Korngold and many, many others.
To use popular vernacular: this piece is a whole mood.
I remember being obsessed with this piece as a child. Fantastic
Rachmaninoff was rather underrated as an orchestral composer.
Since when…
Rakhmaninov at his Best....and the section starting at 11:05 is a Zenith of All Music....Ingenious! Such finely-cut intricately-vivisected harmonies.....
Awesome piece and a great section, but if this is your zenith, you need to get out more.
@@joshuasussman8112 -- Apparently, "@alanpotter8680," just below agrees with me. Rakhmaninov's Vocalise and Symphony #2 Adagio are, too, Zeniths. Also the last 4 minutes of Bruckner's 4th. Strange though to get advice from a slacking mediocrity who's clearly in a persistent vegetative state. Cheers from Acapulco!
What exactly is it a zenith of? I can’t imagine the category. It’s not an epoch-making work like Machaut’s Mass, the B minor Mass or Goldberg Variations, Beethoven’s 9th or Late Quartets, Pierrot Lunaire or the Rige of Spring. Even if you were to narrow it down to a micro-niche like the Late Romantic Russian Symphony, Tschaikovsky’s 5th and 6th may nudge it out.
So may I ask what this piece (and even more so, the Vocalise) is the zenith of?
Even your Bruckner example, which I love, is not the zenith of his own production, which certainly has to be the 8th and 9th, let alone the zenith of symphonic music.
Might you have been hyperbolic?
@@joshuasussman4020 -- I misspoke...you're correct. Then again...Who could anticipate a forensic investigation, being grilled in this gentle forum by some reïncarnation of Francisco, Cardinal Jiménez de Cisneros but without the benefit of Pope Sixtus IV's intervention? [You already know that I'm in Acapulco. I'll finish my thought when you divulge your location]
@@joshuasussman4020a bit late, but I think he just means that it’s his favorite musical segment he has listened to yet, along with the adagio and vocalise.
This has always been one of my favourite pieces and I've never been able to identify why.
Maybe you are the reincarnation of Rachmaninoff ? OMG ! 😱Lol, just kidding. Ha got ya !
@@paulbizard3493 I wish if my compositions where even slightly as moving as his it would be a miracle
@@inanis9801 I'm no musician, but I can understand that music can make someone crazy ! Good luck with your compositions. 👍
Crowley listened to this during his ritual to summon an elemental
Same this piece is a masterpiece
I wonder whether 5/8 has anything to do with the somewhat asymmetric movement of rowing (the boat in Böcklin's painting).
I think, yes, this is swaying on the waves of the prow [an archaic shallop] of Charon or other carriers of the deceased people.
Si il due più tre è il remare poi diventa tre più due e quella è l’onda , è un brano fantastico con una grande orchestrazione suonarlo per me stata una grande emozione 🎻
@@ritapoli4817 Anche in Haendel, ma solo per 20 secondi di musica, c'è un'associazione tra il remare è il metro in 5, in questo caso 3+2. Nell' "Orlando" il protagonista, in preda alla follia, crede di essere salito su una barca e dice "già solco l'onde" in 5/8, una nota per sillaba.
Remember our promise.
She will never dance with us again...
Perhaps, this is hell.
This is Rachmaninov’s Totentanz. A piece based on death, filled with Dies Irae. Although while Totentanz is the Dance of Death, Isle of the Dead is more like the stillness of death.
In a world where Fantasia 2 came out and World war II never happened This would have made for an incredible backdrop for a sequence
Quelle partition fabuleuse ! Merci pour le partage.
Came here coz ( BETWEEN SEASONS ) these pieces such wonderful creation
Wow this is impactful
Merci pour cette merveilleuse oeuvre aussi belle que envoûtante...
Thanks for uploading full score.
Such a beautiful, emotional and melancholic piece. Yes it gets loud and intense, but that's just to prepare us for the growth. I'm writing this in the month of Cancer, which is the hottest period of the year. People born in this period are very exentric and passionate about their work. They are not afraid to reveal the hidden truth inside them, they will open their shell for you no matter how rude you are to them.
This piece is possibly one of the purest that I know.
In the Island of the dead, they rest. They rest because they simply feel good, and don't see it necessary to change anything in the external world. They can sleep when they want, they will work if the world calls. Entering into that island is a very hard journey and shall not be forced, because we are all going into that island at our own pace. Once we fully enter it, what we'll find is that nothing has changed at all, everything is still, even if the process takes lots of turbulence.
Let us all embrace our growth, not hide it from the world.
15:08 most hopeless climax of music history
I make the most hopeless climaxes on my own thank you
Danke
Wunderschöne Interpretation dieser spätromantischen und ein bisschen bedrohlichen Sinfonischen Dichtung mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und erfahrene Dirigent leitet das perfekt trainierte Orchester im veränderlichen Tempo und mit künstlerisch kontrollierter Dynamik. Echt hörenswert!
Fabuloso,um mangá me trouxe aqui kkk
Perfect intro to Behemoth's next concert. Wondrous
I’m guessing this is the recording with
Conductor: Vladimir Ashkenazy
Orchestra: Concertgebouworkest
thank you
One of the greatest orchestral works ❤
Great Russian music and literature cannot be abolished and banned. This is genius!!!
I made a promise.
I've tried to teach Elster how to dance. It's so cute how clumsy she can be when it comes to these things.
@@dsch0Elster is underrated
8:20
I will go in sadness.
lo amee
Long live Sergie Rachmaninoff
Yea
Prince rostislav is so much more sophisticated, but, I need to have a couple more listens to this
9:09
9:01
Gushing late Romanticism
...
I never knew Rachimaninoff could be this emotional and listenable after mostly ever hearing his dry repetitive meaningless piano concerti - I tell you Russians are meant to compose for the orchestra, leave piano works for the West Europeans
Er, Scriabin?
Quite the controversial take on his piano concerti..
With all due respect, I'm an inkling away from supposing you are a troll. I am most likely biased. But using the words 'repetitive meaningless piano concerti' and 'Rachmaninoff' in the same sentence leaves the author of these words with a lot to answer for.
@@sandryushka Well, if you think about it, how often are the 1st and 4th performed?
I don t like the 4th concerto me too, but the first it s great