Rachmaninoff’s Études-Tableaux

Rachmaninoff’s Études-Tableaux exist in two distinct sets: Op. 33 and Op. 39. Although they share a title, these two collections feel strikingly different in character, emotional weight, and pianistic demands. Together, they offer a rare glimpse into Rachmaninoff’s inner world — not through words or programmatic titles, but through sound, colour, and gesture.

Op. 33: Suggestion and Restraint

If you’re new to Rachmaninoff’s Études-Tableaux, the Op. 33 set is a perfect place to start. Composed in 1911, these pieces are a little like glimpses into a dream — short, vivid, and full of personality. They’re not as stormy or intense as his later Op. 39 études, but don’t let that fool you: they’re still full of challenges, and every note matters.

What’s special about Op. 33 is the sense of restraint and subtlety. You can’t just blast through them with brute force. Instead, the music rewards patience, careful listening, and a touch that brings out the inner voices and melodies hiding in the textures. Even the dramatic moments are contained — they feel deliberate, like each gesture is carefully considered.

For students, these études are a masterclass in how to make music speak without playing loudly. They teach balance, clarity, and the kind of musicality that goes beyond just hitting the right notes. It’s about shaping phrases, listening to yourself, and letting the piano sing — all while building technique that will carry you through the stormier, more intense études later on.

Op.39: Intensity

Op. 39 is a lightning storm — intense, dramatic, and full of energy you can feel in your fingertips. Composed in 1916–17, these études push the piano to its limits, demanding power, stamina, and deep emotional commitment from anyone who tackles them. This opus is not just about speed or technical fireworks — though there’s plenty of that! The real challenge lies in controlling the storm, making every chord, leap, and arpeggio serve the music, and shaping long, dramatic lines without losing clarity. These pieces are thick with texture, with melodies often hiding inside dense layers, so pianists must balance hands carefully and bring out the voices that make the music sing. Playing them teaches students how to channel emotion through technique — how to transform energy, tension, and drama into musical storytelling. It’s piano playing at its most theatrical and expressive, where every dynamic, pause, and nuance matters.

For students, Op. 39 is an incredible learning experience. It develops not just virtuosity, but musical maturity, endurance, and imagination. You learn to listen to yourself while controlling extreme textures, to convey intensity without harshness, and to make technical mastery serve expressive power.

In the end, two of my favourite pieces from these études would be Op. 33 No. 7 courtesy of the RCM and Op. 39 No. 1, especially by Yuja Wang.