SERGEY RACHMANINOFF IN EMIGRATION: THE GUIDE ADDRESSES

Abstract

This article deals with one of the least studied periods of the life of a famous Russian composer, pianist and conductor Sergei Rachmaninoff – namely the years of staying in the exile. Modern musicology explorations and new researches are involved to the beadeker by his addresses abroad. It was made an attempt to expand the knowledge of musicologists in the context of the subject, the study emphasizes the need for versatile creative artists’ biographies. Particular attention is paid on communication of the composer with his close friend, a famous pianist Vladimir Horowitz. It had become a tradition in musicological thought to divide Rachmaninov’s life into two periods – a Russian period and a foreign one - or before the emigration and after it. It is surprising that almost in all post-Soviet writings the composer's years of life in (and it is from 1873 to 1918, that’s 45 years), and the living abroad (1918 - 1943, that’s 25 years, that is more than half of the previous segment) corresponds to a percentage of about 75% to 25% (in some researchers 65-70 percent is given to the Russian period, respectively). The explanations are quite simple - the communist regime doesn’t forgive the brilliant composer and pianist his departure, and the censorship didn’t allow to file immigration Rachmaninoff no other than the faux pas, and even the crime against the homeland and the extinction of his creative spark "Rahmanynov considered that he did a right step, that Art and oeuvre demanded that action from him. But he was wrong exactly in that. The estrangement from the homeland couldn’t affect on such an authentically national composer as Rahmanynov. Like Antaeus he lost his creative force after he had been got away from the Mother Earth. He couldn’t compose for almost ten years. His fault was great. And he was punished heavily and severely for that". Another equally important reason of limited descriptions Sergei Vasilievich’s foreign life is more pragmatic - it is known very little about this time. Only the information that became available, namely correspondence, memoirs of contemporaries, some publications in the press could slightly open a curtain of a bright creative life of a composer and pianist who toured constantly toured actively in Europe and America. Of course, present provides new opportunities for researchers. Besides new publications of new books and articles in which we find different unknown facts from Rachmaninoff’s foreign life. Internet capabilities help to trace creative pursuits and daily life of the composer, go through his "addresses" and as if to feel his impressions of what had been heard and seen. 

It should be emphasized that Rachmaninoff loved to travel very much and not only with concerts, but just relax and be treated. It is explained either by the romantic nature of his temper or the sincere interest of something else unknown. Perhaps, as it may sound patronizing or arrogant, that exactly emigration became bright and intense period of the composer's life, except of creative splash, because it was then Rachmaninov became famous throughout the world as an incredible pianist and the composer fame only grew stronger. At this time Rachmaninoff truly enjoys life, he becomes family happy, he finds the pleasure from driving a car and a boat, he approaches enthusiastically to the selection of estates for life and rest, he is interested in various hobbies such as reading, photography, gardening, nautics! Our study confirms once again the importance of appeals to creative artists biographies, especially to studying different levels of manifestation of this biography because not only cultural space or surrounding social layer affects the life and work of human art. The scale of versatile effects for the human mind is confirmed in this article. Rachmaninoff expanded his pianistic achievements in exile and enriched the spiritual and cultural life experience, and sublimating it, remembering the sadness or nostalgia for the life at home, he embodied in the last summarizing works such as Variations Corelli on d-moll for a piano, op. 42, Rhapsodys on a Theme of Paganini a-moll for a Piano with an Orchestra, op. 43 the Third Symphony a-moll for the Orchestra, Op. 44 and "Symphonic Dances" for the orchestra, Op. 45, consecrated Eugene Ormandy - the best examples of music art of the twentieth century, and even more of music history