Rachmaninoff's compositions are limited in number, but their lush sonorities and grandeur have made them standards of classical music. There are some forty-five opus numbers, including symphonies, piano concerti, orchestral tone poems, operas, chamber works, solo piano collections, transcriptions, and choral pieces. Rachmaninoff wrote four piano concerti, of which No. 2 (in C minor) and No. 3 (in D minor) are played constantly and world-renowned. Also famous is his Rhapsody on a Theme of Paganini (1934) for piano and orchestra, three symphonies, and his tone poem Isle of the Dead (1909), based on a symbolist painting by Arnold Böcklin. Rachmaninoff had a vicarious relationship with the Orthodox Church, but used his talent for two major religious works, the Liturgy of St. John Chrysostom (1910) and the All-Night Vigil (1915). Amongst his solo piano writings are two sonatas, the Études-Tableaux, and two sets of preludes. Rachmaninoff's later operas include The Miserly Knight (1904) and Francesca da Rimini (1905), which have minor places on his résumé.
Folk Songs of the Four Seasons (3) Ralph Vaughan Williams Download 'Folk Songs of the Four Seasons (3)' on iTunes
Back at Cinderella's home, love has allowed the Prince to defy the laws of time and space; though she is only awakening the morning after the ball, he has already travelled the world and back again in search of his lost love. Upon waking, Cinderella initially believes that the events of the previous night were only a dream. As she relives some of the dances of the ball, she discovers the remaining glass slipper and realizes that it was all true. At breakfast, the step-sisters reminisce about the ball, and argue about who made the greater impression on the Prince at the ball. Their fighting is interrupted when the father and step-mother hurry in with the news that the Prince is on his way to their house, desperately trying a glass slipper on every girl he encounters. Upon his arrival, he tries the slipper on the two step-sisters, to no avail. The step-mother, however, demands to be given a chance and tries to force her foot into the shoe, ordering Cinderella to help her. As she bends down to assist, the remaining slipper falls from her pocket and the Prince finally recognizes Cinderella for who she is. As Cinderella successfully tries on both glass slippers, her step-family beg for her forgiveness, which she happily bestows upon them. Overjoyed to have rediscovered each other, Cinderella and the Prince are then transported away to a secret garden by the fairy godmother, where they confess their love for one another and are happily married.
In 1948, a team of Soviet party officials with no formal background in music declared his compositional style to be tantamount to “anti-democratic formalism” and began censoring some of his work. His attempts to stay in the regime’s good graces by composing simple, bombastic pieces celebrating Communism were treated with skepticism because they were not regarded as similar enough to his earlier work. You may find yourself wondering why Soviet authorities would want him to write patriotic music in a style that they had already condemned as unpatriotic, and it’s likely that he found himself wondering the same thing. (Soviet party officials of the later Stalin era contradicted themselves regularly and regarded requests for clarification as confrontational, which sometimes made compliance difficult.)
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