"Meticulously researched, eminently readable, and full of intriguing new details, Valeria Nollan’s thoughtful biography of Rachmaninoff takes us behind the public persona and timeless music with unique understanding and valuable insight. This book is a must read for any serious music lover."
— Vanessa Rogers, Rhodes College
“Gracefully written and fully accessible to non-specialists, Valeria Z. Nollan’s monograph is a meticulously researched reconstruction of the web of personal and professional relationships within which Rachmaninoff lived and worked, from childhood to his final years. While Nollan’s religious interests do not dominate her book, her recurrent attention to Rachmaninoff’s Russian Orthodox identity adds a welcome dimension to her portrait of the composer who authored what may be the world’s best-known piece of modern Orthodox church music, the 1915 All-Night Vigil (Op. 37).”
— Paul Valliere, Butler University
"Among the many biographies of Rachmaninoff, this study is distinguished by its insights into how the composer’s genius was formed by Russian life and culture, especially Russian Orthodoxy. Nollan’s knowledge of Rachmaninoff’s Russian worlds presents a more authentic understanding of him than we have had before. The book combines historical and cultural analysis with musicology and new details about the women in Rachmaninoff’s life. It is extensively researched and reads easily, despite its layers of learning. Altogether a major work."
— Randall A. Poole, College of St. Scholastica
Valeria Nollan’s new book is the most substantive and enlightening treatment of Rachmaninoff published to date, a luxurious exploration of the composer’s life and art with focus on his salon songs. It is a wonderful and troubling read, each attribute bound up with the other. Nollan offers an unapologetic defence of Russian (Slavophile) culture and provides the best explanation of Rachmaninoff’s aesthetics that I have yet encountered, focusing on ‘love and Orthodox kenosis’, Platonic ideals, spiritual transformation and attempts, through music, to make up for the deficit of beauty in the world (p. 182).
— Slavonic & East European Review