Six moments musicaux (Rachmaninoff)

The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations.

"[1][9] Presto draws inspiration from several sources, including the Preludes of Frédéric Chopin, to synthesize an explosion of melodic intensity.

[1] The fifth, Adagio sostenuto is a respite in barcarolle form, before the finale Maestoso, which closes the set in a thick three-part texture.

[1] The set's name is inspired by Franz Schubert's collection of six short piano pieces, also called Six moments musicaux (Op.

[9] The second part is marked con moto (with motion), at  = 76, and is a variation of the first theme in the unusual configuration of seven quarter notes per measure (74).

The third section presents the last variation of the theme, again in common time, but in the fastest tempo yet, Andantino con moto, at  = 84.

[14] It is, throughout, a relentless torrent of descending half steps and a cascading left hand figure reminiscent of Chopin's Revolutionary Étude (Op.

[14] Rachmaninoff revised this piece in March 1940, changing the melody but leaving the constant sextuplets, proving that the rushing figures are not simple bravura or flair.

The theme of the first and second sections are played entirely in minor thirds, accompanied by a left hand figure of open fifths and octaves.

The fourth piece reveals resemblance to Chopin's Revolutionary étude in the taxing left hand figure place throughout.

The piece is 67 measures long, with a duration of about three minutes, and has the fastest tempo of the set, Presto (quick) at  = 104, and is the shortest work in terms of playing time.

The technique of rapidly changing the octave in which a melody is played, sometimes called "registral displacement", is used to present the figure in a more dramatic form that increases the intensity of the ending.

[9] The ending, a coda in Prestissimo (very quick),  = 116, is a final, sweeping reiteration of the theme that closes in a heavy E minor chord,[14] which revisits Rachmaninoff's preoccupation with bell sounds, prominent in his Piano Concerto No.

[1] The piece is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a tenth interval.

Additionally, octave intervals invariably appear before fast sextuplet runs, making quick wrists and arm action necessary.

Although the piece seems simple, the mood must be sustained by playing simultaneously restrained but dynamic triplet figures in the left hand.

[15] Like the second and fourth pieces, number six is written in the form of an étude, with a repetitive but technically challenging chordal melody that is doubled in both hands.

[14] Dynamics play a large part in this piece: the fortissimo marked at the beginning is maintained all throughout the first section, with only brief respites to mezzo forte.

[14] The middle section is wholly softer, and contains two areas with significant mounting tension, creating the aforementioned "apotheosis effect" with dramatic "false starts.

This "triple counterpoint... is titanic both in size and impact, and in potential for disaster,"[9] referring to the tension, waiting for the final climax, in this "continuing explosion.

Stamina and strength are required to sustain a full resonant sound, while the continuous thirty-second figure can be tiring for the pianist.

[2] Maintaining this accuracy while managing every other element of the piece and successfully presenting a musically solid performance continues to be the ultimate challenge of all.

"[3] Later performances of this work would reveal that Rachmaninoff had hidden a subtle rhythm and vitality that emerged under the long, melodic phrases, furthering his acclaim as an incredibly complex musician.

[17] The Moments go as far as to "confirm the inexplicable inherent in genius", with "exquisite melody, wondrous harmonic changes, 'heavenly brevity'," while maintaining "a sense of contrast and variety that allows each miniature to stand alone while complementing the work on either side of it.