156 the sake of virtuosity and technical challenges. The works are challenging with complex and fast rhythms, changes of hands, melodies full of emotion, big jumps over the whole span of the keyboard but in fact, demonstrate, like a large part of Rachmaninov’s other works for the piano, his deep understanding and mastery of piano technique. Rachmaninov preferred to leave the description of the image itself in the hands of the performer or the listener. However, he revealed some of the ideas in five of the Etudes-Tableaux when the Italian composer Respighi orchestrated them. Etude-Tableau op. 39 No. 1 in C minor (Allegro agitato) is full of dark swirls that slide up and down the keyboard with an ominous melodic accompaniment in the left hand bass line. The description of the Etude-Tableau op. 39 No. 2 in A minor (Lento assai) was provided by the composer himself: he describes seagulls and the sea, each using a separate melody. There is a hint of the “Day of Wrath” (Dies Irae) motif from the funeral liturgy instilling an eternal sadness that echoes again and again. Etude-Tableau op. 39 No. 4 in B minor (Allegro assai) is an irresistibly forward-moving dance toccata with many changes of tempo. The Etude-Tableau op. 39 No. 5 in E flat minor (Appassionato) is perhaps the dramatic climax of the two collections together. The passage is passionate, stormy, discouraging and gloomy. The technical difficulties, as enormous as they may be, match the musical reward here. A powerful theme is played against triads of chords in the first part, while the middle part is lyrical and accompanied by extensive arpeggios. The Etude-Tableau Op. 39 No. 9 in D major (Allegro moderato), is the last in the collection. Rachmaninov includes in it many motifs from the previous works of the collection and in particular the motif of the bells. It has lush harmonies and many musical colors. The nature of the piece is that of a dramatic march with an oriental tone. Tal Sacharov A Tribute Recital
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