A. Goldenweiser and G. Ginzburg plays Rachmaninoff's 6 Morceaux for four hands piano, op 11

Alexander Goldenweiser and Grigory Ginzburg plays Rachmaninoff's little suite 6 morceaux op 11 1- 00:00 Barcorelle in G minor 2- 06:13 Scherzo in D major 3- 09:33 Russian theme in B minor 4- 14:02 Valse in A major 5- 18:50 Romance in C minor 6- 22:50 Slava (Gloria) in C major "Composed in 1894, the Six Morceaux, op. 11 for piano four-hands is among the finer compositions of Rachmaninoff’s youthful period following his studies at the Moscow Conservatory. The opening Barcarolle in G minor is dark and mysterious, its gently rocking rhythms depicting a gondolier navigating the Venetian canals beneath a moonlit sky. The piece builds to a dazzling climax with rapid figurations atop the rich and powerful chords so typical of Rachmaninoff’s piano music. These same figurations return to close the piece in a much brighter mood than it began. The following Scherzo in D major is a sprightly and brilliant composition with a relentless rhythmic drive. There is no actual Trio section, but instead a coquettish secondary theme that momentarily hold the Scherzo’s impetuosity at bay. Occupying the third position in the set is the Chanson Russe, a set of variations on an unknown folk song. The piece begins quietly but builds quickly into a majestic variation in which the theme is heard against a rushing counterpoint of sixteenth notes. From this climax, the music recedes through a quiet variation only to be roused again at the final cadence. Next, the Valse is reminiscent of Chopin in its amalgamation of different waltz tunes. However, the style is certainly that of Rachmaninoff and possesses a power that is at odds with both the graceful Viennese dance and the ruminations of Chopin. Yet, the Valse is not wholly without elegance. Fifth in the set is the Romance. In C minor, it is a passionate piece with a particularly poignant principal theme that seems to anguish over some grief. Brief moments of light shine across the otherwise dismal canvas of the Romance, but never break the otherwise gloomy air. Lastly, Slava! (Glory) closes the set. A set of variations based on the Russian chant used by Mussorgsky in Boris Godunov, it provides the opus 11 with a majestic and towering conclusion. " -Joseph DuBose ______________________________________________________________________________