Rachmaninoff's Morceaux de Fantaisie is the subject to this post. More specifically the infamous Prelude in C-sharp Minor, Op.2, No.3, the second of five works from that set.

The title Morceaux de Fantaisie reflects the imagery instilled by the pieces as none of them are actually fantasies. The C-sharp minor prelude is undoubtedly the most recognized of the set, and probably of all his solo piano compositions.



The start of popularity for the prelude came from its first performance. Premiered on October 8, 1892 by Rachmaninoff himself at the Moscow Electrical Exhibition. A review singled out the prelude from the entire concert, stating it had "aroused enthusiasm," and from there its popularity grew.



Its difficulty is of remarkable significance. Requiring a dominating tone throughout most of the piece and a certain level of virtuosity required from all Rachmaninoff compositions. The enclosed music is an example of the demanding recapitulatiton, four staves required to accustom the volume of notes, Rachmaninoff's reputation of having big hands continues.

As with any composer where the popularity of one piece often outshone the rest of his work, Rachmaninoff began to loathe the Prelude as audiences frequently demanded it as an encore at concerts. In addition, the prelude's reputation frequently outweighed the rest of the program as audiences would wait solely to hear the prelude.

Jonathan Cambry performs the Prelude at the Ganz Hall at the Chicago College of the performing Arts at Roosevelt University.