The Bells (Rachmaninoff)
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The Bells (Russian: Колокола, Kolokola), Op. 35, is a choral symphony by Sergei Rachmaninoff, written in 1913. The words are from the poem The Bells by Edgar Allan Poe, very freely translated into Russian by the symbolist poet Konstantin Balmont. The traditional Gregorian melody Dies Irae is used frequently throughout the work. It was one of Rachmaninoff's two favorite compositions, along with his All-Night Vigil,[1] and is condsidered by some to be his secular choral masterpiece.[2] Rachmaninoff called the work both a choral symphony and his Third Symphny shortly after writing it; however, he would later write a purely instrumental Third Symphony during his years in exile.[3]
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[edit] Composition
Rachmaninoff wrote his friend Morozoff in December 1906, asking whether he could think of a suitable subject for a choral piece to follow his cantata Spring. Nothing came of this request. However, while on a holiday in Rome, Italy early in 1907, Rachmaninoff received an anonymous letter continaing a copy of Balmont's translation of The Bells. The sender asked him to read the verses, suggesting they were suitable for musical setting and would especially appeal to him. (This suggestion was both extremely sensitive and opportune.[4] It was only after the composer's death that the identity of the sender was found to have been Mariya Danilova, who was then a young cello student at the Moscow Conservatory.[5])
Nor was Rachmaninoff the only composer to whom Poe's verses would appeal. The English composer Joseph Holbrooke set The Bells in their original language for chorus and orchestra. His piece had been performed in Birmingham under conductort Hans Richter in 1906.[6]Earlier, in Russia, Ostroglazoff had composed a one-act opera based on "The Masque of the Red Death" in 1896. Nikolai Tcherepnin would write a ballet on the same subject in 1922. Nikolai Myaskovsky composed his symphomnic poem Nevermore, based on "The Raven," in 1909. At the same time Rachmaninoff composed The Bells, his compatriot Mikhail Gnissen was writing The Conqueror Worm for tenor and orchestra, based on Balmont's translation of "Ligeia."[7]
[edit] Parallels to Tchaikovsky
Circumstantially and compositionally, The Bells draws parallels between its composer and his former mentor, Pyotr Ilyich Tchaikovsky. Coincidentally, Rachmaninoff wrote the symphony in Rome, Italy at the same desk Tchaikovsky had used to compose.[8] Compositionally, the four-movement mirroring of life from birth to death meant the finale would be a slow movement. In this and other ways, it is a counterprt to Tchaikovsky's Pathétique Symphony, as well as to Gustav Mahler's Das Lied von der Erde.[9]
Compared with his mentor, Rachmaninoff's aesthetic wass generally narrower, lacking his predecessor's exuberant examination and subtle aestheticism; the visionary power of a work like the opera The Queen of Spades was outside his reach.[10] The Bells, along with The Isle of the Dead, proves the exception to this rule. The fourth movement, with its image of the demonic bell-ringer, hearkens to the bedroom scene in The Queen of Spades.[10]
[edit] Bibliography
- Bertensson, Sergey and Jay Leyda, with Sophia Satina, Sergei Rachmaninoff: A Lifetime in Music, {Bloomingale:Indiana University Press, 2001) ISBN n/a.
- Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002). ISBN 0-520-21815-9.
- Matthew-Walker, Robert, Rachmaninoff (London and New York: Omnibus Books, 1980). ISBN 0-89524-208-7.
- Steinberg, Michael, Choral Masterworks (Oxford and New York: Oxford University Press, 2005). ISBN to come.
[edit] References
- ^ Bertensson and Leyda, 191.
- ^ Harrison, 190.
- ^ Steinberg, Choral, 241.
- ^ Harrison, 186.
- ^ Harrison, 193 ft. 1.
- ^ Harrison, 186-187.
- ^ Harrison, 187.
- ^ Maes, 203-204.
- ^ Matthew-Walker, 74-75.
- ^ a b Maes, 204.
