Sergei Rachmaninoff

Sergei Vasilievich Rachmaninoff (1873 – 1943) was a Russian-born composer, pianist, and conductor 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 personal style notable for its song-like melodicism, expressiveness and his use of rich orchestral colors.[5] The piano is featured prominently in Rachmaninoff's compositional output, and through his own skills as a performer he explored the expressive possibilities of the instrument.

Rachmaninoff studied at the Moscow Conservatory with Nikolai Zverev and Anton Arensky, and while there, composed some of his most famous works, including the first piano concerto (Op. 1) and the Prelude in C-sharp minor (Op. 3, No. 2). Although spread over three different opuses, he did go on to complete an important set of 24 preludes in all the major and minor keys. His Symphony No. 1 (Op. 13) was one of his first compositions as a "Free Artist" after graduation, and subsequently his first critical failure. The derision he received sent him into depression. After being sent through autosuggestive therapy, he composed his second piano concerto (Op. 18), which is still part of the major orchestra repertoire today. In 1909, he made his first tour of the United States, and composed Piano Concerto No. 3 (Op. 30), notable for its difficult cadenza. After this, due to migration from Russia in 1917 and his busy concert career, his output as a composer decreased, and during this period, he completed only six compositions. His last work, Symphonic Dances (Op. 45), was completed in 1940.

Because his most popular pieces are oriented toward the solo piano or piano and orchestra, his vocal music -- apart from the perennial Vocalise -- is often overlooked; even when it is given some consideration, it is usually discounted as a sideline to the major works. Yet Rachmaninov composed more than 80 songs throughout his career, which shows more than a passing interest in the genre, and his special aptitude for long-breathed melodies is evident in his intensely lyrical settings.

Although originally written for Piano and Voice, I created this arrangement for Bb Clarinet and Concert (Pedal) Harp.