These five pieces, not intended to be played as a group, represent a step forward toward Rachmaninov's mature style. Substantially more original than the Nocturnes or the early composition exercises, these all show an increasing confidence and stylistic command. With the exception of the brief Sérénade, they are all in three-part form (ABA) and are recognizably characteristic of Rachmaninov in style. The Elégie in E flat minor is an epic and tragic work, with sweeping melodies, an imposing climax, and a fine melancholic atmosphere. The justly famous Prélude in C sharp minor recalls the central section of the C minor Nocturne with its widely spaced chordal opening. The central section is in one of Rachmaninov's typical styles: a lyrical melody rises above a swirling accompaniment. It is highly effective, even if worn out by familiarity. Something like a Nocturne, the E major Mélodie is both lyrical and dramatic, rising to a powerful climax before the central cadenza. The ending is Chopin-esque and features another cadenza. Puckish and almost demonic, the Polichinelle, in F sharp minor, is a technical tour de force. It is the first of Rachmaninov's fast march-like works that finally culminate in his Symphonic Dances of many years later. It is brilliantly effective. The final Sérénade, an unpretentious waltz with a Spanish inflection, is the smallest work of the collection and is a bit repetitious.

© All Music Guide

2.Prelude in C#- ('The Bells of Moscow')

While Rachmaninov's early compositions divulge the influence of Tchaikovsky, this Prelude in C sharp minor foreshadows his later style and is one of his most masterfully crafted compositions from his student years. It was written, in fact, shortly after he graduated from the Moscow Conservatory, and dedicated to one of his teachers there, Arensky. Chronologically it came first in the group of pieces Rachmaninov composed for a set he entitled Morceaux de Fantasie. He placed it second among three other works, then added a fourth. The others in the set are Elegie (No. 1), Melodie (No. 3), Polichinelle (No. 4), and Serenade (No. 5).

The C sharp minor Prelude became popular immediately after Rachmaninov premiered it on October 8, 1892. He had to accommodate audiences at virtually every recital he gave thereafter by including it as an encore. Rachmaninov played it so often, in fact, that he grew tired of the piece.

The Prelude begins with ominous descending chords that lead to one of the composer's most melancholy and memorable themes. Its slow lilting character, conveyed in big gloomy chords, is reminiscent of tolling bells on a dark wintry night, an image which accounts for its nickname, "The Bells of Moscow." The theme offers no consolation in its dire gloom, but instead proceeds to proudly proclaim its beguiling pessimism. The middle section is restless and tense, not breaking the dark mood, but offering livelier and more driven music before returning to the chordal theme with doubled intensity.

In the end, despite damning judgments so often associated with short popular piano works, this piece must be considered one of the most perfect from Rachmaninov's early years and a masterpiece of the late nineteenth century keyboard literature. A typical performance of the Prelude lasts about four-and-a-half minutes. Today, it is rarely heard as part of the entire set of the Morceaux de Fantasie and is still programmed separately or as an encore. While it remains popular, it is performed far less than it was 50 or 100 years ago. Rachmaninov made an arrangement of it for two pianos in 1938.

© All Music Guide