A brief coda concludes the piece where the voice soars above the accompaniment before coming to rest on the tonic and fading away into the final cadence. A wealth of material is presented in its opening section from which Rachmaninoff then draws upon and plays out in both the voice and accompaniment during the latter section, in particular as the piece’s emotional climax is reached. The melody gracefully unfolds across a rounded binary form as the piece progresses. In the plaintive key of C-sharp minor, the voice weaves its melancholy and longing melody over a slowly descending bass and a pulsing accompaniment of chords. Fauré and Stravinsky both composed their own songs without words, but it is Rachmaninoff’s 1912 composition that is the vocalise for many admirers of his work and classical music in general. However, a few composers of the early 20 th century, searching for new means of expression, found in the vocalise all the potential of a blank canvas. While the étude underwent a radical transformation during the 19 th century that began with Frédéric Chopin, the vocalise did not. In technical terms, the vocalise is to song much in the same way the étude is to a piano piece, and its history dates back to the mid-18 th century. One of the most famous of these performances was in English by the choir of King's College Cambridge, the celebrated solo line, with its difficult top-C, sung with apparent effortlessness by treble Roy Goodman.Sergei Rachmaninoff’s Vocalise is one of his most beloved and well-known creations-a piece that has taken on a life and reputation separate from its thirteen companion pieces that make up the composer’s Fourteen Songs, op. The ban on the work's reproduction was eventually lifted, it becoming one of the most frequently recorded Renaissance pieces. Mozart was said to have written down the piece after hearing it just once, though doubts remain about the veracity of this story. The most famous of these were by Mendelssohn, Liszt and Mozart. Its exclusivity meant that copies of the score were not available outside the confines of the Sistine Chapel, with the result that a number of musicians attempted to make transcriptions of the work by ear. Allegri's sublime "Miserere Mei, Deus" ("Have mercy on me, O God") is a setting of Psalm 51 composed during the reign of Pope Urban VIII, probably during the 1630s, for the exclusive use of the Sistine Chapel.
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