Rachmaninoff

Rachmaninoff's Hands

I first heard about Sergei Rachmaninoff’s hands when I was in college and a friend of mine, a piano major, was told that she would not be required to play some of Rachmaninoff’s music because she lacked the reach in her fingers. Since that day, I have noticed that it is difficult to read about Rachmaninoff without the size of his hands creeping into the text. Indeed, the legend of his hands is so pervasive that I often sense writers grasping for adjectives to describe his hands the way someone learning to swim might struggle to breathe.

In
The Lives of the Great Composers, Harold C. Schonberg writes that Rachmaninoff’s hands were “supple,” “spectacular,” and “phenomenal.” Wikipedia states, “Rachmaninoff possessed extremely large hands, with which he could easily maneuver through the most complex chordal configurations.” In 2010 The Soundpost News reported that his oversized hands were "contrarily delicate.”

And how big were Rachmaninoff's hands? In
A Walk on the Wild Side, the pianist Earl Wild states, “His reach extended to a twelfth!” Put another way, Max Harrison in Rachmaninoff: Life, Works, Recordings reports that Rachmaninoff could "with his left hand stretch C–E-flat–G–C–G and the right could manage C (second finger)–E–G–C–E (thumb under).”

Sit at a piano and see if your fingers can stretch from middle C to G in the next octave. Anyone with average-sized hands will probably be astonished that fingers can reach that far.

The reason Rachmaninoff's hands were so large may have stemmed from a genetic disorder. In the
British Medical Journal (Volume 293, December 20-27, 1986) D.A.B. Young states, “The extraordinary size and extensibility of Rachmaninoff's hands might indicate Marfan's syndrome.”

The disease is also mentioned in
Wikipedia: “Along with his musical gifts, Rachmaninoff possessed physical gifts that may have placed him in good stead as a pianist. These gifts included exceptional height and extremely large hands with a gigantic finger stretch. Rachmaninoff's slender frame, long limbs, narrow head, prominent ears, and thin nose also suggest that he may have had Marfan syndrome, a hereditary disorder of the connective tissue. This syndrome would have accounted for several minor ailments he suffered all his life. These included back pain, arthritis, eye strain and bruising of the fingertips.”

And how did the size of Rachmaninoff's hands affect his musical performance? Earl Wild states, “Hand size makes no difference whatsoever when playing the piano. As for the ideal fingers, Chopin’s boney, tapered fingers were perfect. Rachmaninoff also had marvelously tapered fingers, although in his case, it was his lush sound that made him famous as a pianist.”

Earl Wild also points out that the size of Rachmaninoff’s hands my have been an obstacle in his musical performance. “Rachmaninoff’s large hands, although a blessing, caused great problems for him…. In octave playing a large hand can be helpful, but an over-sized hand is definitely a hindrance. This is the reason we find so few octave passages in his compositions.”

If Rachmaninoff had not been a great musician, wholly committed to developing his skills as an artist, the size of his hands would not have mattered. He was not only one of the most highly acclaimed pianists of the twentieth century, he was also a great conductor and composer. Focusing too much attention on the size of his hands may be nothing more than an amusing sideshow.

As D.A.B. Young concluded in his article about Rachmaninoff's Marfan syndrome
, “I should add that Rachmaninov's eminence as a pianist was founded as much on his interpretation of the music of others, especially Chopin, as on the extraordinary virtuosity he displayed in performing some of his own compositions. Undoubtedly, his hands contributed to his virtuosity; but for his interpretation of others' work it was artistic genius, not large hands, that made his performance so memorable.”

Rachmaninoff playing the First Movement from his Piano Concerto No. 2
(Recorded in 1929 with Leopold Stokowski conducting the Philadelphia Orchestra)


Igudesman and Joo, "Rachmaninoff Had Big Hands"



Music and the Doctrine of Ethos

Music magnifies emotion.

Notice how music is used in films to enhance the drama, horror, or comedy in a story. It might be tragic enough to see an innocent child die in a film, but if the death is accompanied by the right music, the film can make you sob until you are honking like a goose.

In the ancient world the Greeks believed music had a magical power to speak directly to human emotion. In what has come to be known as the doctrine of
ethos, the Greeks believed that the right kind of music had the power to heal the sick and shape personal character in a positive way. The Greek philosopher Aristotle believed that when music was designed to imitate a certain emotion, a person listening to the music would have that emotion.

"We accept the division of melodies proposed by certain philosophers into ethical melodies, melodies of action, and passionate or inspiring melodies, each having, as they say, a mode corresponding to it".

– Aristotle, Politics, Bk 8, Pt 7

In Aristotle’s mind, someone listening to the wrong type of music would become the wrong type of person. Certain instruments and modes would take one toward either the logos (rational) or pathos (emotional), and it was essential to raise children with the right kind of music.

"Shall we argue that music conduces to virtue, on the ground that it can form our minds and habituate us to true pleasures as our bodies are made by gymnastics to be of a certain character?"

– Aristotle, Politics, Bk. 8, Pt. 5

In a similar manner, many people today believe music can be used to help educate children and promote good health.

According to the
American Music Therapy Association, music can be used to "promote wellness, manage stress, alleviate pain, express feelings, enhance memory, improve communication, and promote physical rehabilitation."

In an article posted on the Huffington Post," Therese J. Borchard, who is the author of the
Beyond Blue column, writes that music can be used as therapy. “Everything with a beat moves my spirit,” writes Ms. Borchard. “I can't get enough of Bach, Beethoven and Mozart, because I think so much better when these guys are playing in the background.”

Listen to the pieces I have embedded below to get a sense of what Ms. Borchard is saying. Both pieces are referenced by Ms. Bochard in her article “
Music Therapy: Got the Blues? Play Them."

Whether we call it music therapy or the doctrine of
ethos, the concept is simple to grasp. At its best, music has the potential to affect our emotions so deeply that it can cleanse our soul and connect us with something that might best be described as “spiritual.”

Sarah Brightman singing “Music of the Night” from Phantom of the Opera


Rachmaninoff, Prelude in C-sharp minor (Ruslan Sviridov, piano)