In their seriousness and complexity, these imposing and difficult Moments Musicaux anticipate the later Etudes-Tableaux. They seem to be ordered in a way that makes for an effective complete performance. The first piece in the collection, in B flat minor, is a long composition, in four sections, the last being a varied reprise of the first. It opens with a beautiful and longing melody over triplet sixths in the left hand. This section, nearly a complete piece in itself, rises to a climax then gives way to an improvisatory and transitional passage that culminates in a cadenza. This is followed by a breathless and mostly quiet passage featuring the principal melody of the opening section now elaborated into rapid figuration. The entire piece is beautifully effective. The Moment musical No. 2, in E flat minor, can be described as an etude. A syncopated melody in octaves rises up out of rapid triplet figuration in both hands in a distinctively Rachmaninov style. The exciting climax in E flat major is prepared and developed brilliantly, then subsides to a quiet ending. The third piece opens with a noble and stately march, which is played twice: once simply, and once with an elaborated bass in staccato octaves. Rachmaninov makes effective use of the ninth chord throughout the work. Moment musical No. 4, in E minor, is another etude presenting a sustained rising melody set against rapid sextuplet figuration. A more lyrical central section retains the rapid figuration while presenting a new melody in descending thirds. The reprise of the original material is elaborated into an enormous climax that stretches the characteristic figuration over the entire keyboard, culminating in the sudden and fortissimo ending. The fifth composition, in D flat major, more of a than the Barcarolle, Opus 10, is a gentle and lovely interlude: the only emotionally relaxed piece in the entire set. It seems likely that No. 6 was inspired by Chopin's Etude No. 12, Op. 25, known as the "Ocean Etude." Rachmaninov's figuration is more static, but the massive sweep and drive is the same. A powerful and surging melody is accompanied by rapid figuration in both hands. The massive central and ending climaxes are among the most sonorous pages ever written for the piano.



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