Rachmaninov dedicated this large-scale work to Tchaikovsky, and rightfully so, as that composer's influence is quite apparent. At the time this work was composed, however, Rachmaninov was beginning to develop a personal style. This work, more so than the pieces of Opus 3, already exhibits certain distinctive features of the composer's mature style. For example, the swirling accompaniments, the lugubrious harmonies, the repeated sequences rising to climax and the powerful rhythmic drive are all present. The first movement, Barcarolle, based upon a single melody, is lyric and ornamented with increasingly complex figuration. Like most of his other Barcarolles, it does not sound like a typical barcarolle; more like a waltz, in fact. Nevertheless, it is a lovely and effective work. The next movement, La Nuit, l'Amour (Night, Love), begins slowly and quietly only to expand into a passionate and expressive poem. Following an impressive climax, the poetic impulse subsides, amid florid passagework, as the movement heads to its atmospheric conclusion. Next is Les Larmes (Tears), a mournful Largo. As usual, there is a central climax, in this case quite original in its use of a hypnotic ostinato pattern. The use of ostinato continues in Pâques (Easter). Here, in the shortest movement of the Suite, Rachmaninov invokes Russian Liturgical chant set against the repetitive pattern of church bells, to great cumulative effect. This is a strikingly original and powerful movement.

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