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I'm not the person to critique this, but I just wanted to say that it sounded fantastic to me!

Thanks

I'd like to talk about some aspects I was trying to bring out.


In the first descending passage, I tried to bring out the lower notes of the chord, to give it some sonority: https://youtu.be/f3UuPo1Hv58?t=42


In the later descending passage, I really tried to hammer the top note, making it sound like bells. It was tough, and I didn't quite get it the first couple measures: https://youtu.be/f3UuPo1Hv58?t=184 Now I think it would be good to give the lower half of the chords their own dynamic shape, crescendo and decrescendo, independent of the top note. I don't know if I personally have the technique to do that.

On the last page, some of the chords are literally impossible for anyone to play, since they span four octaves. I think I had an interesting approach to playing them all: https://youtu.be/f3UuPo1Hv58?t=195

Also, the mood of this piece is very somber. As I practiced, I got more and more into a deep, dark mood. I feel sorry for Rachmaninoff if he was feeling this way all the time.

Phantom - If you are referring to the chords at the beginning of measure 51 and 53, those are intended by the composer to be broken - playing the lower octave chords first immediately followed by the upper chord. Same thing with the low C sharps in measures 27, 28, 31 and 32.

Overall I liked your very unique approach to the piece. I would encourage you to double-check your reading of some of the LH chords (measures 8, 10, 46, 48, 50 and 53) which sound a tad "off."

Rachmaninov wrote this prelude at the age of 19 upon the death of his well-loved piano teacher.
Another written at the same time was 'Elegie' also a quite dark, sometimes times angry work


Elegie Op 3 No 1

And much more difficult !!

Thanks, I will definitely do so.

I am currently polishing the Prelude in C Sharp Minor. It is a great piece of music and I will be performing it very soon. I believe the middle section is the hardest to master especially since there is such a vast difference in how musicians interpret it. My favorite part of playing the piece must be the run at measure 36 and the chord jumps in measures 52 and 54. I think the first section done well with dynamics is truly great as well. The trick however is to count and not rush, especially at the end in my opinion.