Sergei Vasilievich Rachmaninoff (Russian: Сергей Васильевич Рахманинов), 1 … Read Full Bio ↴Sergei Vasilievich Rachmaninoff (Russian: Сергей Васильевич Рахманинов), 1 April 1873 - 28 March 1943, was a composer, pianist, and conductor. Alternative transliterations of his name include Sergey, Sergej or Serge, and Rachmaninov, Rakhmaninoff.) Rachmaninoff was born in 1873 in Semyonovo, near Novgorod, in north-western Russia. He was born into a noble russian family, who had been in the service of the Russian tsars since the 16th century. His parents were both amateur pianists.
Rachmaninov is regarded as one of the greatest pianists of the twentieth century. He had legendary technical facilities and rhythmic drive, and his large hands were able to cover the interval of a thirteenth on the keyboard (a hand span of approximately twelve inches). His large handspan roughly corresponded with his height; Rachmaninov was 6 feet 6 inches (1.98m) tall according to sources[citation needed]. He also had the ability to play complex compositions upon first hearing. Many recordings were made by the Victor Talking Machine Company recording label of Rachmaninov's performing his own music, as well as works from the standard repertory.
His reputation as a composer, on the other hand, has generated controversy since his death. The 1954 edition of Grove's Dictionary of Music and Musicians notoriously dismissed his music as "monotonous in texture ... consist[ing] mainly of artificial and gushing tunes ..." and predicted that his popular success was "not likely to last". [1] To this, Harold C. Schoenberg, in his Lives of the Great Composers, responded, "It is one of the most outrageously snobbish and even stupid statements ever to be found in a work that is supposed to be an objective reference." Indeed, not only have Rachmaninov's works become part of the standard repertory, but their popularity among both musicians and audiences had, if anything, increased during the second half of the twentieth century, with some of his symphonies and other orchestral works, songs and choral music recognized as masterpieces alongside the more familiar piano works.
His compositions include, among others, four piano concerti, three symphonies, two piano sonatas, three operas, a choral symphony (The Bells, based on the poem by Edgar Allan Poe), the All-Night Vigil for unaccompanied choir (often known as Rachmaninov's Vespers), the Rhapsody on a Theme of Paganini, 24 Preludes (including the famous Prelude in C-sharp minor), 17 Études-tableaux, Symphonic Dances and many songs, of which the most famous is the wordless Vocalise. Most of his pieces are in a melancholy, late Romantic style akin to Tchaikovsky, although strong influences of Chopin and Liszt are apparent. Further inspiration included the music of Balakirev (Милий Алексеевич Балакирев), Mussorgsky (Модест Петрович Мусоргский), Medtner (Николай Карлович Метнер)(whom he considered the greatest contemporary composer and who, according to Schoenberg's Lives, returned the compliment by imitating him) and Henselt.
Rachmaninov was born in Semyonovo, near Novgorod in north-western Russia, into a noble family of Tatar descent, who had been in the service of the Russian tsars since the 16th century. His parents were both amateur pianists, and he had his first piano lessons with his mother on their family estate at Oneg; however, his parents noticed no outstanding talent in the youngster. Because of financial difficulties, the family moved to Saint Petersburg, where Rachmaninov studied at the Conservatory before moving to Moscow. There, he studied piano under Nikolay Zverev and Alexander Siloti (who was his cousin and a former student of Franz Liszt). He also studied harmony under Anton Arensky, and counterpoint under Sergei Taneyev. It should be noted that, in his younger days, Rachmaninov was found to be quite lazy, failing most of his classes and spending much time skating. It was the strict regime of the Zverev home (a place for many young musicians, including Scriabin) that instilled discipline in the boy.
Already, in his early years, he showed great skill in composition. While still a student, he wrote the one-act opera, Aleko (for which he was awarded a gold medal in composition), his first piano concerto and a set of piano pieces, Morceaux de Fantaisie (Op. 3, 1892), including the popular and famous Prelude in C-sharp minor. (According to Francis Crociata’s liner notes to RCA's 10-CD set of Rachmaninov’s recordings, the composer later became annoyed by the public’s fascination with this piece, composed when he was just 19. He would often tease an expectant audience by asking, “Oh, must I?” or claiming inability to remember anything else.) Rachmaninov confided in Zverev his desire to compose more, requesting a private room where he could compose in silence, but Zverev saw him only as a pianist and severed his links with the boy. After the success of Aleko, however, Zverev welcomed him back as a composer and pianist. His first serious pieces for the piano were composed and performed as a student, at the age of thirteen, during his residence with Zverev. In 1892, at nineteen, he completed his Piano Concerto No. 1 (Op. 1, 1891), which he revised in 1917.
Rachmaninov's Symphony No. 1 (Op. 13, 1896) premiered on 27 March 1897 in one of a long-running series of "Russian Symphony Concerts", but was torn apart by critics. In a particularly vitriolic review by César Cui, it was likened to a depiction of the seven plagues of Egypt and suggested that it would be admired by the "inmates" of a music conservatory in hell. It is often mooted that the criticisms stem from inadequacy of the performance. The conducting of Alexander Glazunov is often remembered as a problem: he liked the piece, but was a weak conductor and starved of rehearsal time. Rachmaninov's wife later suggested that Glazunov may have been drunk and, although this was never intimated by Rachmaninov, it would not seem out of character. The disastrous reception, coupled with his distress over the Eastern Orthodox Church's objection to his marrying his cousin, Natalia Satina, contributed to a period of severe depression.
He wrote little music over the following years, until he began a course of autosuggestive therapy with psychologist Nikolai Dahl, an amateur musician himself. Rachmaninov quickly recovered his confidence. An important result of these sessions was the composition of the Piano Concerto No. 2 (Op. 18, 1900–01), which was dedicated to Dr. Dahl. The piece was very well received at its premiere at which Rachmaninov was soloist, and remains one of his most popular compositions.
Rachmaninov's spirits were further bolstered when, after years of engagement, he was finally allowed to marry Natalia. They were married by an army priest in 1902, and their union lasted until the composer's death. After several successful appearances as a conductor, Rachmaninov was offered a job as conductor at the Bolshoi Theatre in 1904, although political reasons led to his resignation two years later. In 1908, he moved to Italy, and later to Dresden, Germany, while waiting for the political situation in Russia to normalize.
Rachmaninov made his first tour of the United States as a pianist in 1909, an event for which he composed the Piano Concerto No. 3 (Op. 30, 1909). This successful tour made him a popular figure in America.
Following the Russian Revolution of 1917, which meant the end of the old Russia, Rachmaninov and his family left for Stockholm in December of 1917, and never returned to the home country afterwards. They settled then in Denmark for a year, and finally started a 10 days voyage from Oslo to New York on November 1, 1918, which marked the beginning of the American period of the composer's life. After Rachmaninov's departure, his music was banned in the Soviet Union for several years. His compositional output slowed, partly because he was required to spend much of his time performing to support his family, but mainly because of homesickness; he felt that, when he left Russia, it was as if he had left behind his inspiration.
The falloff in Rachmaninov's output was dramatic. Between 1892 and 1917 (mainly living in Russia), Rachmaninov wrote 39 compositions with opus numbers. Between 1918 and his death in 1943, mainly living in the U.S., he completed only six.
As the years went on, and he became more and more aware of the fact that he would never again return to his beloved homeland, he was overwhelmed with melancholia. Most people who knew him later in life described him as the saddest man they had ever known. Nevertheless, his Rhapsody on a Theme of Paganini, today one of his best-known works, was written in Switzerland in 1934.
He went on to compose his Symphony No. 3 (Op. 44, 1935–36) and the Symphonic Dances (Op. 45, 1940), his last completed work. He fell ill during a concert tour in late 1942, and was subsequently diagnosed with advanced melanoma.
Rachmaninov and his wife became American citizens on 1 February 1943. His last recital, given on 17 February, 1943 at the University of Tennessee Alumni Gymnasium, prophetically featured Chopin's Piano Sonata No. 2 in B flat Minor which contains the famous funeral march. A statue commemorating Rachmaninov's last concert stands in the World's Fair Park in Knoxville, TN.
Rachmaninov died on March 28, 1943, in Beverly Hills, California, just a few days before his 70th birthday, and was interred in Kensico Cemetery in Valhalla, New York. In the final hours of his life, he insisted he could hear music playing somewhere nearby. After being repeatedly assured that was not the case, he said: "Then it is in my head".
http://en.wikipedia.org/wiki/Sergei_Rachmaninoff
Rachmaninov is regarded as one of the greatest pianists of the twentieth century. He had legendary technical facilities and rhythmic drive, and his large hands were able to cover the interval of a thirteenth on the keyboard (a hand span of approximately twelve inches). His large handspan roughly corresponded with his height; Rachmaninov was 6 feet 6 inches (1.98m) tall according to sources[citation needed]. He also had the ability to play complex compositions upon first hearing. Many recordings were made by the Victor Talking Machine Company recording label of Rachmaninov's performing his own music, as well as works from the standard repertory.
His reputation as a composer, on the other hand, has generated controversy since his death. The 1954 edition of Grove's Dictionary of Music and Musicians notoriously dismissed his music as "monotonous in texture ... consist[ing] mainly of artificial and gushing tunes ..." and predicted that his popular success was "not likely to last". [1] To this, Harold C. Schoenberg, in his Lives of the Great Composers, responded, "It is one of the most outrageously snobbish and even stupid statements ever to be found in a work that is supposed to be an objective reference." Indeed, not only have Rachmaninov's works become part of the standard repertory, but their popularity among both musicians and audiences had, if anything, increased during the second half of the twentieth century, with some of his symphonies and other orchestral works, songs and choral music recognized as masterpieces alongside the more familiar piano works.
His compositions include, among others, four piano concerti, three symphonies, two piano sonatas, three operas, a choral symphony (The Bells, based on the poem by Edgar Allan Poe), the All-Night Vigil for unaccompanied choir (often known as Rachmaninov's Vespers), the Rhapsody on a Theme of Paganini, 24 Preludes (including the famous Prelude in C-sharp minor), 17 Études-tableaux, Symphonic Dances and many songs, of which the most famous is the wordless Vocalise. Most of his pieces are in a melancholy, late Romantic style akin to Tchaikovsky, although strong influences of Chopin and Liszt are apparent. Further inspiration included the music of Balakirev (Милий Алексеевич Балакирев), Mussorgsky (Модест Петрович Мусоргский), Medtner (Николай Карлович Метнер)(whom he considered the greatest contemporary composer and who, according to Schoenberg's Lives, returned the compliment by imitating him) and Henselt.
Rachmaninov was born in Semyonovo, near Novgorod in north-western Russia, into a noble family of Tatar descent, who had been in the service of the Russian tsars since the 16th century. His parents were both amateur pianists, and he had his first piano lessons with his mother on their family estate at Oneg; however, his parents noticed no outstanding talent in the youngster. Because of financial difficulties, the family moved to Saint Petersburg, where Rachmaninov studied at the Conservatory before moving to Moscow. There, he studied piano under Nikolay Zverev and Alexander Siloti (who was his cousin and a former student of Franz Liszt). He also studied harmony under Anton Arensky, and counterpoint under Sergei Taneyev. It should be noted that, in his younger days, Rachmaninov was found to be quite lazy, failing most of his classes and spending much time skating. It was the strict regime of the Zverev home (a place for many young musicians, including Scriabin) that instilled discipline in the boy.
Already, in his early years, he showed great skill in composition. While still a student, he wrote the one-act opera, Aleko (for which he was awarded a gold medal in composition), his first piano concerto and a set of piano pieces, Morceaux de Fantaisie (Op. 3, 1892), including the popular and famous Prelude in C-sharp minor. (According to Francis Crociata’s liner notes to RCA's 10-CD set of Rachmaninov’s recordings, the composer later became annoyed by the public’s fascination with this piece, composed when he was just 19. He would often tease an expectant audience by asking, “Oh, must I?” or claiming inability to remember anything else.) Rachmaninov confided in Zverev his desire to compose more, requesting a private room where he could compose in silence, but Zverev saw him only as a pianist and severed his links with the boy. After the success of Aleko, however, Zverev welcomed him back as a composer and pianist. His first serious pieces for the piano were composed and performed as a student, at the age of thirteen, during his residence with Zverev. In 1892, at nineteen, he completed his Piano Concerto No. 1 (Op. 1, 1891), which he revised in 1917.
Rachmaninov's Symphony No. 1 (Op. 13, 1896) premiered on 27 March 1897 in one of a long-running series of "Russian Symphony Concerts", but was torn apart by critics. In a particularly vitriolic review by César Cui, it was likened to a depiction of the seven plagues of Egypt and suggested that it would be admired by the "inmates" of a music conservatory in hell. It is often mooted that the criticisms stem from inadequacy of the performance. The conducting of Alexander Glazunov is often remembered as a problem: he liked the piece, but was a weak conductor and starved of rehearsal time. Rachmaninov's wife later suggested that Glazunov may have been drunk and, although this was never intimated by Rachmaninov, it would not seem out of character. The disastrous reception, coupled with his distress over the Eastern Orthodox Church's objection to his marrying his cousin, Natalia Satina, contributed to a period of severe depression.
He wrote little music over the following years, until he began a course of autosuggestive therapy with psychologist Nikolai Dahl, an amateur musician himself. Rachmaninov quickly recovered his confidence. An important result of these sessions was the composition of the Piano Concerto No. 2 (Op. 18, 1900–01), which was dedicated to Dr. Dahl. The piece was very well received at its premiere at which Rachmaninov was soloist, and remains one of his most popular compositions.
Rachmaninov's spirits were further bolstered when, after years of engagement, he was finally allowed to marry Natalia. They were married by an army priest in 1902, and their union lasted until the composer's death. After several successful appearances as a conductor, Rachmaninov was offered a job as conductor at the Bolshoi Theatre in 1904, although political reasons led to his resignation two years later. In 1908, he moved to Italy, and later to Dresden, Germany, while waiting for the political situation in Russia to normalize.
Rachmaninov made his first tour of the United States as a pianist in 1909, an event for which he composed the Piano Concerto No. 3 (Op. 30, 1909). This successful tour made him a popular figure in America.
Following the Russian Revolution of 1917, which meant the end of the old Russia, Rachmaninov and his family left for Stockholm in December of 1917, and never returned to the home country afterwards. They settled then in Denmark for a year, and finally started a 10 days voyage from Oslo to New York on November 1, 1918, which marked the beginning of the American period of the composer's life. After Rachmaninov's departure, his music was banned in the Soviet Union for several years. His compositional output slowed, partly because he was required to spend much of his time performing to support his family, but mainly because of homesickness; he felt that, when he left Russia, it was as if he had left behind his inspiration.
The falloff in Rachmaninov's output was dramatic. Between 1892 and 1917 (mainly living in Russia), Rachmaninov wrote 39 compositions with opus numbers. Between 1918 and his death in 1943, mainly living in the U.S., he completed only six.
As the years went on, and he became more and more aware of the fact that he would never again return to his beloved homeland, he was overwhelmed with melancholia. Most people who knew him later in life described him as the saddest man they had ever known. Nevertheless, his Rhapsody on a Theme of Paganini, today one of his best-known works, was written in Switzerland in 1934.
He went on to compose his Symphony No. 3 (Op. 44, 1935–36) and the Symphonic Dances (Op. 45, 1940), his last completed work. He fell ill during a concert tour in late 1942, and was subsequently diagnosed with advanced melanoma.
Rachmaninov and his wife became American citizens on 1 February 1943. His last recital, given on 17 February, 1943 at the University of Tennessee Alumni Gymnasium, prophetically featured Chopin's Piano Sonata No. 2 in B flat Minor which contains the famous funeral march. A statue commemorating Rachmaninov's last concert stands in the World's Fair Park in Knoxville, TN.
Rachmaninov died on March 28, 1943, in Beverly Hills, California, just a few days before his 70th birthday, and was interred in Kensico Cemetery in Valhalla, New York. In the final hours of his life, he insisted he could hear music playing somewhere nearby. After being repeatedly assured that was not the case, he said: "Then it is in my head".
http://en.wikipedia.org/wiki/Sergei_Rachmaninoff
Rhapsody on a Theme of Paganini Op. 43: Variation XI
Sergei Rachmaninoff Lyrics
We have lyrics for these tracks by Sergei Rachmaninoff:
nocturne ор.15 no. 2 in f sharp major Luôn bên em là tôi Lâu nay không chút thay đổi Thế…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@jakubstruzynski8124
Introduction: Allegro vivace 0:00
Var. I (Precedente) 0:08
Tema: L'istesso tempo 0:27
Var. 2: L'istesso tempo 0:46
Var. 3: L'istesso tempo 1:04
Var. 4: Più vivo 1:29
Var. 5: Tempo precedente 1:57
Var. 6: L'istesso tempo 2:24
Var. 7: Meno mosso, a tempo moderato 3:17
Var. 8: Tempo I 4:30
Var. 9: L'istesso tempo 5:02
Var. 10: L'istesso tempo (Dies irae) 5:31
Var. 11: Moderato (with Cadenza) 6:23
Var. 12: Tempo di menuetto (D minor) 7:56
Var. 13: Allegro (D minor) 9:27
Var. 14: L'istesso tempo (F major) 9:58
Var. 15: Più vivo scherzando (Orchestra tacet) (F major) 10:41
Var. 16: Allegretto (B-flat minor) 11:47
Var. 17: [Allegretto] (B-flat minor) 13:30
Var. 18: Andante cantabile (Theme in inversion) (D-flat major) 15:27
Introduction and Var. 19: A tempo vivace 18:33
Var. 20: Un poco più vivo 19:05
Var. 21: Un poco più vivo 19:39
Var. 22: Marziale. Un poco più vivo. Alla breve (with Cadenza) 20:03
Var. 23: L'istesso tempo (with Cadenza) 21:39
Var. 24: A tempo un poco meno mosso 22:27
@melon4611
1. A minor
Introduction. 0:00 Allegro vivace
Var. 1. 0:08
Theme. 0:27 L’istesso tempo
Var. 2. 0:46 L’istesso tempo
Var. 3. 1:04 L’istesso tempo
Var. 4. 1:29 Più vivo
Var. 5. 1:57 Tempo precedente
Var. 6. 2:24 L’istesso tempo
Var. 7. 3:17 Meno mosso, a tempo moderato
Var. 8. 4:30 Tempo I
Var. 9. 5:02 L’istesso tempo
Var. 10. 5:31 L’istesso tempo
Var. 11. 6:22 Moderato
2. D minor — F major
Var. 12. 7:56 Tempo di minuetto
Var. 13. 9:27 Allegro
Var. 14. 9:58 L’istesso tempo
Var. 15. 10:41 Più vivo scherzando
3. Bb minor — Db major
Var. 16. 11:47 Allegretto
Var. 17. 13:30
Var. 18. 15:26 Andante cantabile
4. A minor — A major
Var. 19. 18:33 A tempo vivace
Var. 20. 19:05 Un poco più vivo
Var. 21. 19:39 Un poco più vivo
Var. 22. 20:03 Marziale. Un poco più vivo. Alla breve
Var. 23. 21:38 L’istesso tempo
Var. 24. 22:27 A tempo un poco meno mosso
@elrichardo1337
"MOVEMENT I, PART I"
0:00 Introduction. Allegro vivace. A fragment of the theme is presented.
0:08 Var. 1 (Precedente). Coming before the first statement of the theme; it's stripped down to its harmonic skeleton, featuring the interval of a fifth.
0:27 Theme. L'istesso tempo. Presented by the violins, while the piano continues the sparse texture of Var. 1.
0:46 Var. 2. L'istesso tempo. Grace notes and chromatic neighbors, analogous to Var. 2 of Paganini's 24th caprice.
1:04 Var. 3. L'istesso tempo. Countermelody in the piano, while the orchestra develops the sixteenth-note figure from the theme.
1:29 Var. 4. Più vivo. Further development of the opening motive (A-C-B-A-E).
1:57 Var. 5. Tempo precedente. The harmonic progression of the theme, embellished with chromatic neighbors in chords and octaves in the piano part.
2:24 Var. 6. L'istesso tempo. More juicy chromaticism, with cadenza-like passages at the start that break the momentum of the first few variations.
"MOVEMENT I, PART II"
3:17 Var. 7. Meno mosso, a tempo moderato. The first appearance of the Dies irae plainchant, which can be found all over Rachmaninoff's music - to name a few examples, it's featured in the third movement of his D minor sonata, op. 28, his symphonic poem The Isle of the Dead, op. 29, briefly referenced in the first movement of his B-flat minor sonata, op. 36, and is the bass line for his Étude-tableau in A minor, op. 39, no. 2. Presented simply in chords here - the Paganini motif is retained in the bassoon.
4:30 Var. 8. Tempo I. The theme is presented in menacing eighth-note chords. The chromatic progression of this variation carries over into the next one, as well.
5:02 Var. 9. L'istesso tempo. Insistent triplets in the orchestra, while the piano plays constant offbeats.
5:31 Var. 10. The Dies irae again, presented much more aggressively this time - in octaves and chords, and then in a higher register.
@elrichardo1337
6:23 Var. 11. Moderato. A transition to the "second movement", featuring a highly chromatic cadenza.
"MOVEMENT II, PART I"
7:56 Var. 12. Tempo di minuetto. D minor. A relatively restrained variation, in stark contrast to everything before it. "Dotted" rhythms in the piano, with the theme initially reduced to an arpeggiated figure, eventually becoming more fleshed-out. Listen for all the chromatic harmonies here!
9:27 Var. 13. Allegro. The theme is presented aggressively by the strings, accompanied by powerful chords in the piano part.
9:58 Var. 14. L'istesso tempo. F major. This variation features an inversion of the Paganini motif with one note taken out - in this way, it subtly foreshadows the famous 18th variation. This transformed theme is then repeated, while the pianist hammers out a series of rapid chords.
10:41 Var. 15. Più vivo; scherzando. Takes the transformed theme from the last variation and adds a different note in, making for a colorful, virtuosic solo variation.
"MOVEMENT II, PART II"
11:47 Var. 16. Allegretto. B-flat minor. Quite a shift in mood from the last two variations, featuring a doleful, languid take on the theme with a violin solo partway through.
13:30 Var. 17. The darkest one of them all, featuring icebergs of chromatic harmony in the piano and a very sparse orchestral accompaniment, with string tremolo and the interval of a fifth. Eventually, this gives way to...
15:27 Var. 18. Andante cantabile. D-flat major. Theme in inversion. The famous one, for good reason. Need I say more?
@chriswilbur6690
@jose luis marcillo I don't think there is a name other than Variation 18. Here is some better info on it
Variation 18
The eighteenth variation is the most famous of the whole work, with its luscious romantic flair and reliance on the concerto form. Its melody is based on an inversion of the original Paganini theme (which is shown in crotchet based movement). With many of the variations staying in the home key of A minor, No.18 varies and is performed in Db major. Rachmaninov himself spoke at length about No.18 being his finest variation, stating that “This one, is for my agent.”
With many of the variations seguing into one another, the starting point of No. 18 is with a soft ascending triplet movement from the piano. Triplets are at the heart of the melodic content of this movement, with them becoming fundamental through both the soloist and the orchestra’s music. The recognisable melody is based on a semiquaver step movement, which Rachmaninov develops into musical fruition throughout the movement. Once the piano and orchestra become intertwined the soloist is playing triplet and quaver movements around large Db major chords.
Similarly to a Romantic concerto, the intensity between the soloist and orchestra explodes with colour in the climaxes. The ranges used across the ensemble enable the drama to be heightened, which is what No.18 thrives on. The variation ends with just the piano recapping the main theme, but marked very quiet, which creates an eerie atmosphere at the end of this variation.
@jakubstruzynski8124
Introduction: Allegro vivace 0:00
Var. I (Precedente) 0:08
Tema: L'istesso tempo 0:27
Var. 2: L'istesso tempo 0:46
Var. 3: L'istesso tempo 1:04
Var. 4: Più vivo 1:29
Var. 5: Tempo precedente 1:57
Var. 6: L'istesso tempo 2:24
Var. 7: Meno mosso, a tempo moderato 3:17
Var. 8: Tempo I 4:30
Var. 9: L'istesso tempo 5:02
Var. 10: L'istesso tempo (Dies irae) 5:31
Var. 11: Moderato (with Cadenza) 6:23
Var. 12: Tempo di menuetto (D minor) 7:56
Var. 13: Allegro (D minor) 9:27
Var. 14: L'istesso tempo (F major) 9:58
Var. 15: Più vivo scherzando (Orchestra tacet) (F major) 10:41
Var. 16: Allegretto (B-flat minor) 11:47
Var. 17: [Allegretto] (B-flat minor) 13:30
Var. 18: Andante cantabile (Theme in inversion) (D-flat major) 15:27
Introduction and Var. 19: A tempo vivace 18:33
Var. 20: Un poco più vivo 19:05
Var. 21: Un poco più vivo 19:39
Var. 22: Marziale. Un poco più vivo. Alla breve (with Cadenza) 20:03
Var. 23: L'istesso tempo (with Cadenza) 21:39
Var. 24: A tempo un poco meno mosso 22:27
@PieInTheSky9
Thank you.
@jiwonlee6428
thank you, thank you!!
@birdsunion3294
God bleß u
@meeethya
11:09 no, not tacet
@kronsh2783
The 7th variation can also be called Dies irae, because its theme is also present there.
@GunMaster5248
After decades of practice, i can finally play the piano part from 0:27 to 0:40
@fredpack2034
wow! 13 seconds worth!
@sterbus79
@Fred Pack Quality, not quantity! :)
@bananaborealis9515
well done