- Child! Thou Art as Beautiful as a Flower / La tua bellezza è quella di un fiore / Дитя! Как цветок, ты прекрасна (Op. 8, No. 2)
- The Dream / Un Sogno / Сон (Op. 8, No. 5)
- Believe Me Not, Friend! / Non credermi! / Не верь мне, друг! (Op. 14, No. 7)
- How Fair this Spot / Come si sta bene qui / Здесь хорошо (Op. 21, No. 7)
- He Took All from Me / Tutto ciò che avevo / Всё отнял у меня (Op. 26, No. 2)
An excerpt of the foreword by Alfonso Soldano
Sergej Rachmaninov, the last proud exponent of nineteenth-century virtuosity, was first and foremost a refined and controversial artist, able to reach and recount the darkest corners of the human soul. Worthy successor to Tchaikovsky, Rachmaninov’s music represents a steel bond based on the constant call of the native land, and also allows a new listener to dive into and capture the most intense elements that can be traced back to his memories. The phenomenology of listening makes it possible to converge all human faculties in the direction of sound, of the idea, of “magic moment”, where music finds the perfect connection between communication and impact. Rachmaninov’s music has a terrifying effect on those who listen to it, first for its strong self-referential component, then for the variety and the infinite undergrowth of the utterances, never quiet. The reflection on the music of Rachmaninov has always focused on his greatest works, from orchestral music, to the famous Concertos, up to his impressive works for solo piano. Only by going much deeper into the Rachmaninovian corpus can the entire core of the author’s poetics be appreciated: the Songs (Romances) for voice and piano. Rachmaninov wrote over seventy, not for passing enthusiasm, all perfectly connected to the scent of their roots.