The first part with the original definition of the tempo - Non allegro - begins with a clear rhythm in the pianissimo of the violins, against which there flashes a brief, of only three sounds, the motif of the English horn, repeated by the clarinet, and then descending all the way to the bassoon and bass clarinet. This is a kind of premonition of the basic images that will unfold further. In the meantime, another theme comes into Fortissimo: tough, angular, in the jerky sounds of the orchestra without the pipes, trombones, tuba and percussion. Only at the end of it there is a powerful, chord-like chord with the participation of all the brass, supported by a heavy rumbling timpani. The short introduction has ended. The main image of the first
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It opens a powerful chord, after which you hear sorrowful descending motives. Several clock cycles of entry (Lento assai) lead to a rapid movement of the main section - a gloomy, sinister and at the same time quaintly-scherzo character, imbued with horror in front of the terrible vision of death. It is no accident that this section begins with unstable, torn sounds and measured bangs. Twelve blows seem to count down the last moments before midnight, after which the creepy coven begins. There are strange rustles, bells, terrible groans. Mournful intonations are depersonalized, turn into a fussy run. And in this race stands out the topic of harsh, collected, decisive - the true banner of the rospeau, used by Rakhmaninov in a free rhythmic interpretation. In the flickering of individual faceless motives, the descending motifs of entry, reappearing in the general musical stream, gradually acquire a resemblance to the song of Dies irae - a gloomy funeral chorale. And now this resemblance is insistently emphasized, and the funeral melody acquires the features of a deliberately dashing dance in defiant orchestration: the flute and the piccolo flute in an extremely high register with the accompaniment of a wooden xylophone tone, like a banging of bones. Change each other different episodes - volitional, lyrical, courageous and sinister. There is a struggle of different forces, the confrontation that leads to the victory of a strong-willed, courageous beginning is
It opens a powerful chord, after which you hear sorrowful descending motives. Several clock cycles of entry (Lento assai) lead to a rapid movement of the main section - a gloomy, sinister and at the same time quaintly-scherzo character, imbued with horror in front of the terrible vision of death. It is no accident that this section begins with unstable, torn sounds and measured bangs. Twelve blows seem to count down the last moments before midnight, after which the creepy coven begins. There are strange rustles, bells, terrible groans. Mournful intonations are depersonalized, turn into a fussy run. And in this race stands out the topic of harsh, collected, decisive - the true banner of the rospeau, used by Rakhmaninov in a free rhythmic interpretation. In the flickering of individual faceless motives, the descending motifs of entry, reappearing in the general musical stream, gradually acquire a resemblance to the song of Dies irae - a gloomy funeral chorale. And now this resemblance is insistently emphasized, and the funeral melody acquires the features of a deliberately dashing dance in defiant orchestration: the flute and the piccolo flute in an extremely high register with the accompaniment of a wooden xylophone tone, like a banging of bones. Change each other different episodes - volitional, lyrical, courageous and sinister. There is a struggle of different forces, the confrontation that leads to the victory of a strong-willed, courageous beginning is