with significant mounting tension, creating the aforementioned "apotheosis effect" with dramatic "false starts." Here, Rachmaninoff manipulates the theme contrapuntally to develop a canonic effect. This "triple counterpoint. . . is titanic both in size and impact, and in potential for disaster," referring to the tension, waiting for the final climax, in this "continuing explosion." Immediately before the coda, the thick texture and canon suddenly disappear and the piece becomes piano. Upon entering the coda, the work resumes the forte theme and amalgamates to a majestic ending played fortississimo.Maestoso is one of the most difficult pieces in the set. Stamina and strength are required to sustain a full resonant sound, while the continuous thirty-second figure can be tiring for the pianist. Consistent tempo is a problem for this piece, due to the melody being interspersed with two other elements. Additionally, the dynamics, mostly "loud" and "very loud," indicate that an accurate vision of relative volume is necessary. Maintaining this accuracy while managing every other element of the piece and successfully presenting a musically solid performance continues to be the ultimate challenge of all. Reception The Six moments musicaux were well received by critics. During the writing of his Symphony No. 1, Rachmaninoff was distracted from solo piano work, and the Moments were regarded as his return to mature composition. Although revolutionary and grand in style, they retain the charm of his early works, as mentioned by pianist Elizabeth Wolff: "They are typical of his early works, dense, rich in counterpoint, highly chromatic, poignantly nationalistic, deeply felt, and of course, exceptionally challenging to the pianist." Later performances of this work would reveal that Rachmaninoff had hidden a subtle rhythm and vitality that emerged under the long, melodic phrases, furthering his acclaim as an incredibly complex musician. The Moments'' go as far as to "confirm the inexplicable inherent in genius", with "exquisite melody, wondrous harmonic changes, 'heavenly brevity'," while maintaining "a sense of contrast and variety that allows each miniature to stand alone while complementing the work on either side of it." Although it is unknown whether the financial reaction of this composition recouped his stolen money, the emotional reaction to it would be overshadowed for the following years by the catastrophic premiere in 1897 of his two-years' labor: the Symphony No. 1, Op. 13, 1895. References External links Piano.ru – Sheet music (in Russian) Compositions for solo piano Piano music by Sergei