Rachmaninoff Quotes

What were you going to do tonight?" "I was going to listen to the songs of Rachmaninoff." "Who's that?" "A dead Russian.

The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt - they meditate, protest, analyze, reason, calculate and brood, but they do not exalt.

I feel like a ghost wandering in a world grown alien. I cannot cast out the old way of writing and I cannot acquire the new. I have made an intense effort to feel the musical manner of today, but it will not come to me.

He had always wanted to write music, and he could give no other identity to the thing he sought. If you want to know what it is, he told himself, listen to the first phrases of Tchaikovsky’s First Concerto--or the last movement of Rachmaninoff’s Second. Men have not found the words for it, nor the deed nor the thought, but they have found the music. Let me see that in one single act of man on earth. Let me see it made real. Let me see the answer to the promise of that music. Not servants nor those served; not altars and immolations; but the final, the fulfilled, innocent of pain. Don’t help me or serve me, but let me see it once, because I need it. Don’t work for my happiness, my brothers--show me yours--show me that it is possible--show me your achievement--and the knowledge will give me courage for mine.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

Beethoven introduced us to anger. Haydn taught us capriciousness, Rachmaninoff melancholy. Wagner was demonic. Bach was pious. Schumann was mad, and because his genius was able to record his fight for sanity, we heard what isolation and the edge of lunacy sounded like. Liszt was lusty and vigorous and insisted that we confront his overwhelming sexuality as well as our own. Chopin was a poet, and without him we never would have understood what night was, what perfume was, what romance was.

Rachmaninoff. The 18th Variation of a Rhapsody on a Theme of Paganini.

THE HEGEMONY CONSUL sat on the balcony of his ebony spaceship and played Rachmaninoff’s Prelude in C-sharp Minor on an ancient but well-maintained Steinway while great, green, saurian things surged and bellowed in the swamps below.

What’s a musician?” Remus scoffed. “I say it’s anyone who makes sound with an instrument. Who says everyone’s got to be a Tchaikovsky or a Rachmaninoff.

Music is enough for a whole lifetime, but a lifetime is not enough for music.

She has a recording of a favorite piano piece that she lets play on repeat day and night—Rachmaninoff’s Étude-Tableau in G Minor.

Playing Rachmaninoff was like walking on a rope bridge across a gorge with dreamy skies above and a raging, muddy river below.

I suppose you could pick Rachmaninoff, if you were feeling whorish (can’t wait for the hate mail on this one).

Dizzy Gillespie recorded it with Charlie Parker in an influential 1945 track (incorporating a much imitated intro—perhaps initially intended as a parody of Rachmaninoff ’s Prelude in C-Sharp Minor

He was a dark and stormy knight. A latter-day rake with eyes the color of emeralds worth a queen's ransom. His smile promised voyages to the moon. And heaven alone knew how many females lay littered in his wake. To a rousing burst of Rachmaninoff, he swept into my London flat one January evening and, with the hauteur of his greeting, captured my virgin heart forever and a day. 'Miss Ellie Simons? My car awaits. Shall we splurge on dinner or parking tickets?

I needed a focus. A purpose in life. I’d assumed I’d go to college because I was a high achiever, but none of it truly interested me. How could I decide on a life path when nothing fit? The only time I felt perfectly at ease was sitting at my piano. When my fingers danced across the keys, the world around me melted away until all that was left was the comforting embrace of a haunting melody. Some people wrote in a journal or talked to a therapist. My coping mechanism was the piano. Every emotion under the sun was there to be drawn forth with the right combination of ebony and ivory. A lively Chopin mazurka for bright sunny Saturdays. Beethoven or Rachmaninoff when my emotions were dragging me under. Music was everything to me. But if I didn’t want to play for others, how could I ever take my music further? Being a music teacher was one thing, but being at a university would require performances. Just the thought terrified me.

Our plane lands ahead of schedule, but it’s still late at night when we finally pull up to our house. The stars and the crickets are all out and calling us home. Our curtains are drawn, but a soft glow pours around the edges. A familiar pang hits me. This is how the house used to look when I came home after dark and Mom was in the living room, trilling away at the piano. If I don’t walk inside, maybe I can just stand out here with my suitcase and feel like she’s still there, waiting for me to go in so she can shout a greeting over the music without stopping her fingers. I can pretend that when she finishes the Rachmaninoff, she’ll swing her legs around the piano bench and leap up to give me a hug. And in a few days, when it’s Sunday, I’ll roll out of bed and find her in the kitchen making waffles with berries and whipped cream. I’ll hear that sunny voice chirp “Good morning!” to me while I’m still shaking off the fog of sleep, and I’ll grunt back in response, remember to smile at her, offer to help mix the batter. I’ll do all the things I constantly forgot to, all the things I wish I could go back and add in like another layer on a watercolor painting. “You coming, Leigh?” says Dad. Our driver pulls away from the house, and then there’s just me standing in the driveway with my suitcase, staring as Dad fiddles with his keys on the front porch. I let loose a long, slow exhale. “Guess we forgot to turn off the lights, huh?” “We didn’t,” he says, and the two simple words send my heart racing. Because what could that mean, except that Mom is actually alive and home and waiting for us right inside? My heart speeds as I drag my suitcase up to the porch and haul it in, trailing after Dad through the soft yellow light and into our house. “You’re home! Welcome back!” Arms wrap around me, and it takes a moment too long for me to process the shoulder pressing into my cheek, the soft shirt against my skin, the smell of deodorant and shampoo all wrong.

We’ll start with these. I want you to listen carefully to the allegro in Mozart’s Piano Concerto No. Twenty-one in C, Kochel 467, and the adagio in Brahms Piano Concerto No. One, and the moderato in Rachmaninoff’s Piano Concerto No. Two in C Minor, Opus Eighteen, and finally, the romanze in Chopin’s Piano Concerto No. One. They’re all marked.

Sergei Vasilievich Rachmaninoff was born on April 1, 1873. It was his good fortune to be born into a rich aristocratic family and could take up the piano at age four. The Rachmaninoff family although a part of the elite Russian military had a strong tie to music which allowed Sergei to attend the Moscow Conservatory of Music where he followed his talents to become one of the finest pianists of his day. At the time of his graduation in 1892 he had already composed several piano and orchestral pieces some of whose works are among his most popular pieces. In 1897 when he was 24 years of age he became depressed over a critical review of his Symphony No. 1. Voluntarily entering therapy he overcame his debilitation and four years later wrote the enthusiastically received Piano Concerto No. 2. After the Russian Revolution the elite families of Russia fled with the Rachmaninoff’s moving to New York City. Sergei’s talents and popularity as a pianist grew as he went on a demanding international tour. During this time his productivity slowed to where he only completed six copositions. In 1942 he moved to Beverly Hills and became an American citizen. The following month he died of advanced cancer.

I don't think her final words to me were a gauntlet, but an expression of her faith. I think my mom already believed that I could really, really love someone - because she'd shown me how, by loving me that way in the ten years we had together. I think her words were a parachute, tucked away but always there, ready to catch me when I'm ready to leap. "More," is what I tell Noah. "She wants more time. More memories, More laughter. More little moments you don't think you'll remember but you do. She doesn't want it to end. She wants more of what she already has." Noah;s typing like Rachmaninoff.