He slowly learned the pieces he played, detail by detail. Abram Chasins told about visiting Rachmaninoff one day and stopping outside. Rachmaninoff "was practicing Chopin's Étude in thirds but at such a snail's pace that it took me a while to recognize it because so much time elapsed between each finger stroke and the next. Fascinated, I clocked this remarkable exhibition: 20 seconds per bar was his pace for almost an hour while I waited riveted to the spot, quite unable to ring the bell."[55] Paradoxically, Rachmaninoff often sounded like he was improvising, though he actually was not. While his interpretations were comprised of mosaics of tiny details, when those mosaics came together in performance, they might, according to the tempo of the piece being played, fly past at great speed, giving the impression of instant thought.[56]http://en.wikipedia.org/wiki/Sergei_Rachmaninoff
"One must play a piece a thousand times, making a thousand experiments, listening, comparing, judging," he said, "for only as the individual learns to decide and to control his musical effects does he become an interpreter and come near to the stature whose works he should recreate. And only through unceasing labor can he accomplish such a mission."[57] Rachmaninoff built his interpretations methodically, down to the last, fleeting shadow-like nuance, putting together readings of perfect architectural balance and inexorable musical logic.[58] Josef Hofmann admitted to him, "I dare say that I do not plan how to build a composition and occasionally it happens to sound well."[59]
Ah, um trivia que eu tinha esquecido: o protagonista de O Pecado Mora ao Lado pretendia usar o Piano Concerto No. 2 para seduzir a vizinha Marylin Monroe. (Bons tempos)
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