Rachmaninoff and France: 1920s–30s

As a concert pianist, Rachmaninoff performed in France notably less frequently than in many other countries. The reasons for this are of undoubted interest for historical and biographical research. The attitude of Parisians towards his creative personality was ambiguous: while enthusiastic reviews of their compatriot’s concerts regularly appeared in the Russian émigré press, French-language critics paid him much less attention. The lyrical and dramatic line of Russian music (Tchaikovsky and Rachmaninoff) did not find a favourable response among Parisians. And although Rachmaninoff’s phenomenal skill and powerful artistic individuality remained beyond doubt, the stereotypes of French perception in the 1920s and 1930s were clearly evident in the published descriptions of his appearance and playing. However, Rachmaninoff’s interpretations of famous and beloved works frequently provoked strong protests: in particular, critics noted the “rationality” and “dryness” in the performance of romantic music. The discussion about the performance style of Rachmaninoff’s late years continues to this day. The general impression is formed that Rachmaninoff was not attracted by the noisy and “bustling” atmosphere of Parisian life and the exaggerated recourse to extra-musical criteria for evaluating and perceiving his work as reflected in the press reviews. Keywords: Rachmaninoff the pianist, Russian music, France, Parisian press, Russian emigration, Russian émigré press