With the arrival of the twentieth century, we can observe some crisis in the musical language. Several theorists try to reform the old methods. We can think of the innovations of Debussy in France or Bartok in Hungary. However, the new composers are not all revolutionists. Most of the composers from the begining of the century remain in the middle road between romantic conservatism and the musical new waves, such as Maurice Ravel, Giacomo Puccini or Richard Strauss. But a small group of traditionalist composers, which we will call "the modern romantics", persist in remaining faithful to the romantic models. Sergei Rachmaninoff, composer, conducor and a famous pianist, belongs to this category. Some pianists praise his genius, but a few avant-gardists scorn him. His romantic style in opposition to the musical revolutions brought with the twentieth century has definitely harm his image and success as a composer.

Rachmaninoff considered himself as a romantic. We can easily detect in his work a huge romantic touch. His most important influence comes from Tchaikovski, a russian composer as well, who wrote a lot of virtuosity pieces. Rachmaninoff took advantages of what Tchaikovski had created, as told in the Atlas music encyclopedia: "Rachmaninov n'inventa guère de formes nouvelles; il prit pour modèles celles que lui légua Tchaikovski." Virtuosis himself, he followed the romantic pattern: writting music for himself, to express feelings and emotions. He always denied being a theorist composer. He once said: "In my  compositions, no conscious effort has been made to be original or romantic or nationalistic or anything else. I write down on paper the music I hear within me (...), it is to say simply and directly that which is in my heart(...)". This comportement is obviously romantic, referring to Chopin's work, some typical romantic, which was nothing but an opened diary. He refused to adhere to the modern theories of the twentieth century.

However, he wasn't the only one to refuse to follow the new waves. Some other composers were keeping their distances from the great theoric debates of the new century with the romantic mentality, all over Europe. The most important ones were Jean Sibelius in Finland, Edvard Grieg in Norway, Ottorino Respighi in Italia, Edward Elgar in Great Britain and Sergei Rachmaninoff in Russia. This movement was harshly criticized by the theoricians from the new schools because of their objection to follow the modern tendencies. Unfortunaltely, Rachmaninoff was more touched by the critics than any other because of his nationality; in Russia took place the bolshevik revolution, where all the ideas and way of thinking were changing, he was qualified "Compositeur démodé, imitateur, réactionnaire sans valeur." Rachmaninoff had to move in the United States in 1917, fearing the consequences of the October Revolution.

Of course, he was a great piano vistuosis and a very talented conductor; for instance, Times magazine had once praised "the extraordinary precision and exactitude of his playing". Several pianists, such as Horowitz, Hofman and Rubinstein, considered him as one of the most important piano interprete of the century. His technique was astonishing and particularily enviable, mainly for his left hand. However, his refusal to modernism has attracted many inconveniences, according to (name of the author); "In a revolutionist Russia, it fut qualifié de "compositeur démodé", d'"imitateur", de "réactionnaire sans valeur"". His indifference towards new waves and theorists querels will never be forgiven by his contemporaries. Ceasar Cui, a member of the famous musical critics group the "Mighty Five", published venomous reviews of Rachmaninoff's concerts. He wrote:

   "If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the "Seven Plagues of Egypt," and if he were to compose a symphony like Mr. Rachmaninoff's, then he would have fulfilled his task brilliantly and would bring delight to the inhabitants of hell."

Considering the important influence of the "mighty five", we can easily understand how harming it was for Rachmaninoff's career. Also, in 1931, Rachmaninoff accepts to co-sign an article that condamn Staline's regime. From this moment, his music will be forbidden in U.R.S.S. and Russian critics would take it badly.

In conclusion, according to his stubborn way to reject the modern musical revolutions, Rachmaninoff definitely couldn't be properly considered as a composer. His very romantic style didn't fit at all with the historical context in which he lived. Horowitz once said: "He was a man in the wrong century - a total anachronism". With today's distance, we can now see Rachmaninoff's genius, eclipsed by the musical crisis of the begining of the century. This phenomenon doesn't happen anymore in our days, where every artist is considered as a unique being with total freedom in his art. Maybe Rachmaninoff would have a much greater success if we was born in the twenty-first century. True or not, he's still being discovered everyday by professional and novice musicians.

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At the beginning of the twentieth century, crisis arises in the musical language. Several theorists try to reform the old methods. For example, think of the innovations of Debussy in France or Bartok in Hungary. However, not all the new composers are revolutionists. Most of the composers from the begining of the century remain in the middle ground between romantic conservatism and the musical new waves, such as Maurice Ravel, Giacomo Puccini and Richard Strauss. But a small group of traditionalist composers, whom we will call "the modern romantics", persist in remaining faithful to the romantic models. Sergei Rachmaninoff, composer, conductor, and a famous pianist, belongs to this category. Some pianists praise his genius while some avant-gardists scorn him. His romantic style, in opposition to the musical revolutions brought with the twentieth century, harms his image and hinders success as a composer.


http://www.pacpub.com/new/enter/1-16-00/rachmaninoff.html