A. T. Gretchaninoff's work as a composer embraces all branches of music. In opera, in symphony, in chamber music and in liturgical music, Gretchaninoff has created inspired and profound works which have enriched Russian musical literature. But perhaps the most deeply felt and original of his compositions are in the field of song. His subtle knowledge of the potentialities of the human voice, and the extraordinarily beautiful piano accompaniment, which never intrudes but always gives expressive illustration to the text, make his romances and songs unsurpassed in the vocal literature of Russia and, indeed, of the rest of the world. Many of his songs long ago became popular both in Russia and in other countries. Thus, at the beginning of this century there was no important singer in Russia whose repertory did not include Gretchaninoff's songs. More than that, they spread among the mass of the people and became a part of its heritage. In every home where there was an interest in music or song, one heard the famous Berceuse (Op. 1, No. 5), Quand la hache tombe (Op. 1, No. 2), Triste est la steppe (Op. 5, No. 1), and many Other songs written by Gretchaninoff in his youth. It may be said that Gretchaninoff's songs were as popular in Russia at that time as Schubert's or Schumann's are in Germany. Subsequently these songs spread to Western Europe and America as well. The songs of Gretchaninoff's early period gained wide popularity, being most easily understood by the wide public. But the most musically valuable and the most mature and inspired of his songs remained relatively less well-known. And yet it is precisely in these songs that the composer's individuality and musical inspiration attained their full stature.
