Bibliografie tematiche / Rachmaninoff

Letteratura scientifica selezionata sul tema "Rachmaninoff"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 28 luglio 2024

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Articoli di riviste sul tema "Rachmaninoff"

1

Kivistö, Tuomas. "Pianistin kysymys soiton hallinnasta". Trio 12, n. 2 (31 dicembre 2023): 69–74. http://dx.doi.org/10.37453/tj.142358.

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The demonstration of proficiency for my doctoral degree consisted of five concerts of piano music by Sergei Rachmaninoff and a thesis focusing on questions of control in playing Rachmaninoff’s Moment musical Op. 16 No. 2 E-flat minor. The thesis suggests a way in which Rachmaninoff may have finger pedalled his piano compositions. It also includes exercises for pianists’ practical use.
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Kaz’mina, Elena Olegovna. "S. V. Rachmaninoff’s Works on the Posters of the Choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff in the Context of the Music Educational Traditions of the Education Institution: A Retrospective Review". Pan-Art 2, n. 1 (28 febbraio 2022): 1–6. http://dx.doi.org/10.30853/pa20220005.

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Abstract (sommario):
The research aims to create a holistic view of such a priority area of the concert activity of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff as the popularisation of Sergei Rachmaninoff’s music. The paper draws attention to the educational traditions of the choir of the Tambov State Musical Pedagogical Institute named after S. V. Rachmaninoff, including the promotion of Rachmaninoff’s music since the 1910s, retrospectively considers the “Rachmaninoff” repertoire of the educational choir. In general, the review covers the period from 1882, when the education institution acquired the status of the Music Classes of the Imperial Russian Musical Society, until 2022. The scientific novelty of the paper lies in its local history perspective, which has not yet found proper coverage in research. The research findings show that from the second half of the XX century to the present day, the heads of the student choir of different years strictly follow the tradition of adding Rachmaninoff’s works to its repertoire, performing them within the framework of socially significant projects, adequately carrying out the high mission of educating generations of enlightened listeners, being a “soul healer”.
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3

Dolinskaya, Elena B. "SERGEI RACHMANINOFF AND NIKOLAI MEDTNER: LIFE AND CREATIVE PARALLELS". Arts education and science 2, n. 35 (2023): 165–69. http://dx.doi.org/10.36871/hon.202302165.

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Today the whole world celebrates a jubilee date — the 150th anniversary of the birth of Sergei Vasilyevich Rachmaninoff. The Moscow Conservatory conducts monographic programs in all of its four halls, where all genres of the composer's legacy are presented: three operas are staged, all symphonic works are played, all romances are sung. This article is devoted to the creative interrelations and great friendship between S. V. Rachmaninoff and N. K. Medtner from the conservatory years. It focuses on the later work of the two composers, whose main genres are marked by stylistic parallels. This is about Russianness in their work, about the abiding longing for their beloved homeland, which nourished their inspiration until the last years of their lives. The stylistic comparisons are based on Rachmaninoff's "Symphonic Dances" and Medtner's Piano Quintet, Rachmaninoff's Fourth Piano Concerto and Medtner's Third Piano Ballade Concerto.
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4

Gnilov, Boris Gennadievich, e Ilya Dmitrievich Nikoltsev. "Some aspects of the impact of Western European music upon the works of Sergei Rachmaninoff". Философия и культура, n. 7 (luglio 2021): 75–85. http://dx.doi.org/10.7256/2454-0757.2021.7.36642.

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Abstract (sommario):
The subject of this research is certain manifestations of the impact of Western European music culture upon the works of Sergei Rachmaninoff. The object of this research is the piano, piano-orchestral and symphonic music of S. Rachmaninoff. Analysis is conducted on the particular manifestations of the impact of rhythmics that is characteristic to the Western European music and originated from it, certain melodic formulas, such as Dies Irae. Special attention is given to examination of the impact of rhythmic formulas that crystallized in Baroque period, such as “eighth with a dot, sixteenth and eighth", polyphonic rhythmics (with its specific manner of “ligation” of notes and syncopation), as well as the rhythm texture inherent to preludes and toccatas. The novelty of this article lies in the attempt to reveal the little-studied aspects of the impact of European music upon the musical language of Sergei Rachmaninoff. The conclusion is made that the music of Sergei Rachmaninoff reflects a strong influence of the European music, even his signature rhythmics, which at first glance is quite unexpected. The origins of Rachmaninoff's “rhythm formula” can be traced in the Western European polyphonic music. Other aspects of cultural interaction can also be easily identified. The acquired results can be applied in the pedagogical practice, as well as be valuable for musicologists, musicians, and anyone interested in Sergei Rachmaninoff’s music.
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Frith, Michael. "Rachmaninoff". Nineteenth-Century Music Review 4, n. 2 (novembre 2007): 183–87. http://dx.doi.org/10.1017/s1479409800001038.

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6

Merzlov, Arseniy N. "Sergei Rachmaninoff and Mikhail Vrubel: Creative Parallels". ICONI, n. 1 (2019): 141–46. http://dx.doi.org/10.33779/2658-4824.2019.1.141-146.

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Abstract (sommario):
The article offered to your attention is dedicated to the interrelations between Sergei Rachmaninoff and Mikhail Vrubel. Turning directly to the legacies of the two artists, it is possible to observe a definite and continued “creative dialogue” between them manifested in the artistic themes in images to which Rachmaninoff and Vrubel consistently turned. Most prominent among them are the images of the Lilac and Goethe’s “Faust”. The author examines the peculiarities of their interpretations by the two artists in such works as Rachmaninoff’s song “The Lilac” opus 21 No. 5 and the First Piano Sonata opus 28, as well as Vrubel’s “Faust” triptych (1896) and the painting “The Lilac” (1900). Also subjected to analysis are a number of biographical details, which make it possible to assert that one artistic experience had exerted direct influence on the other. From the perspective of the art of performance, such tracing of artistic parallels makes it possible to glance anew at certain compositions by Rachmaninoff particularly from the position of interpretation in the context of the Art Moderne artistic direction, to which the greater part of Vrubel’s artistic legacy may be attributed.
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Astakhova, Olga Andreevna, e Наталья Евгеньевна Natalia Evgenievna Kudryavtseva. "The evolution of the concert and sonata form in the works of S. V. Rachmaninoff". Pan-Art 3, n. 4 (24 novembre 2023): 239–44. http://dx.doi.org/10.30853/pa20230039.

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The aim of this research is to demonstrate the formation and development of the concert and sonata form in the works of S. V. Rachmaninoff. The article describes the history of the modification of the concert and sonata form in musical compositions and presents the typology of the concert and sonata form of the "post-classical" period by V. Zaderatsky. Based on V. Zaderatsky's concept, the following works of S. Rachmaninoff have been analyzed: Concert No. 1 Op. 1 in F-sharp minor, Concert No. 2 Op. 18 in C minor, Concert No. 3 Op. 30 in D minor, and the Fourth Concert Op. 40 in G minor. The scientific novelty of this research lies in describing the sequential step-by-step evolution of the concert and sonata form in the creative work of S. Rachmaninoff. The authors conclude that Rachmaninoff's First Concert embodies characteristics of both canon and heuristics. In the Second Concert, new tendencies of the genre and form are observed, while in the Third Concert, further complexities of composition are presented. The Fourth Concert represents the highest degree of modification of the concert and sonata form.
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Romashchuk, Inna M. "S. V. RACHMANINOFF AND M. L. PRESMAN: TO THE HISTORY OF FRIENDSHIP BETWEEN THE TWO MUSICIANS". Arts education and science 2, n. 35 (2023): 170–79. http://dx.doi.org/10.36871/hon.202302170.

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Abstract (sommario):
The article reveals the history of friendship between Sergei Vasilyevich Rachmaninoff and his classmate in the class of N. S. Zverev, Matvey Leontievich Presman (1870–1941), pianist, teacher, prominent musical and public figure. In their youth, they studied together and lived in the musical boarding school of Nikolai Sergeyevich Zverev (1832–1893). Presman's memory has preserved to the smallest details the impressions of his youth and much of what directly concerns Rachmaninoff's professional maturation, his formation as a personality, composer and pianist. He described this period in his detailed memoirs called "A Corner of Musical Moscow of the Eighties". Presman completed his Memoirs on October 3, 1938, at the time of the "autumn" of his life, two years before his seventieth birthday. Having crossed this milestone, he passed away. His name emerges in a half-erased form from the depths of history and remains little known to the general public. Information about him is fragmentary. Materials and documents related to his creative biography are scattered throughout different cities where he happened to work: Rostov-on-Don, Tbilisi, Saratov, Baku, Moscow. However, in a number of archival sources, in publications concerning Rachmaninoff, we find evidence that the trusting, friendly relations between childhood friends persisted even after each went his own way. Presman participated in the performance of Rachmaninoff's music, organized concerts of his compositions, initiated the production of the opera "Aleko" in Rostov, having received the score (parts) directly from Rachmaninoff. The latter, in his turn, took an ardent part in the fate of Presman, especially during a difficult period of his life. Their destinies miraculously converged at the beginning of the second decade of the XXth century.
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Kirdeieva, Maiia. "Semantics of Monochromity Reproductions of Arnold Böcklin’s Painting "Isle of the Dead" and its Influence on the Creation of Rachmaninoff’s Symphonic Poem". Часопис Національної музичної академії України ім.П.І.Чайковського, n. 1(54) (21 marzo 2022): 76–90. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255427.

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Abstract (sommario):
The author considered the semantics of monochrome reproduction of A. Becklin's painting "Isle of the Dead" and its influence on the creation of the symphonic poem of the same name by S. Rachmaninoff. It was found that the black-and-white reproduction of the painting by Arnold Böcklin's attracted the attention of S. Rachmaninoff and inspired the composer to create a symphonic poem "Islе of the Dead". A remarkable phenomenon in world art is described - the phenomenon of monochrome images. For the first time in musical culturology the semantics of monochrome reproduction of Arnold Böcklin's famous painting "Isle of the Dead" and its both conceptual and artistic embodiment in the symphonic poem by S. Rachmaninoff were studied. The specifics of S. Rachmaninoff's perception and commitment to black-and-white visualization, which is produced, first of all, by the cultural-historical background, are proved. Understanding of the relationship between fine arts and music with the historical period, which is able to explain certain phenomena in culture, is revealed. The content of the concepts "semantics of monochrome" and "decoded semantic loads", which are endowed with black, white and gray colors, is substantiated. The composer's epistolary legacy is analyzed and deep intentions that were the impetus for the creation of the musical poem "Islе of the Dead" are revealed. The intellectual reflection of the composer is described based on the analysis, which substantiated the following conclusions: in the mind of S. Rachmaninoff there was an objectification of the plot of Arnold Böcklin's painting, a certain message was found, encoded in the painting. The semantics of monochrome reproduction of Arnold Böcklin's painting "Islе of the Dead" and, in fact, the musical interpretation of this plot are characterized. A certain, well-defined technique is used, which the composer uses in many of his works - the opposition of "infernal" and bright life-affirming principles. It is proved that black, which represents death, is overcome by S. Rachmaninoff more often by light and multicolor life.
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Vartanov, Sergei Yakovlevich. "S. V. Rachmaninoff and F. I. Chaliapin: Vocal phrasing". Manuscript 16, n. 3 (27 settembre 2023): 214–18. http://dx.doi.org/10.30853/mns20230046.

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Abstract (sommario):
The paper is devoted to the analysis of S. V. Rachmaninoff’s ideals of vocal phrasing in the aspect of the composer’s collaboration with F. I. Chaliapin. The aim of the study is to clarify the essence of the concept – the picture of the whole musical composition, which helps the performer to find the key to phrasing, using the example of Elégie Op. 3 No. 1 es-moll by S. V. Rachmaninoff. The scientific novelty of the study lies in providing insight into the concept of S. V. Rachmaninoff’s Elégie Op. 3 No. 1 es-moll from the perspective of the art of phrasing. As a result, the author comes to the conclusion that Elégie grows beyond the limits of a chamber piano miniature and reaches the emotional intensity of the scale of a symphony.
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Tesi sul tema "Rachmaninoff"

1

Koren, Martin Eikeset. "Rakhmaninovs opus 37 Vesper : Analyse som grunnlag for egen kompositorisk praksis". Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-15520.

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Cheng, Ruby. "Rachmaninoff the composer-pianist aspects of pianism in his Piano concerto no. 3 in D minor /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835512501&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Maritz, Gerhardus Petrus. "Rachmaninoff, Horowitz, and the discursive arena between (re)composition and performance : the case of Rachmaninoff's Piano Sonata, opus 36". Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020784.

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Abstract (sommario):
This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.
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Gehl, Robin S. "Reassessing a Legacy: Rachmaninoff in America, 1918 – 43". Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1227105259.

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Abstract (sommario):
Thesis (Ph.D.)--University of Cincinnati, 2008.
Advisor: Bruce McClung PhD (Committee Chair), Jeongwon Joe PhD (Committee Member) , Robert Zierolf PhD (Committee Member). Title from electronic thesis title page (viewed Feb. 9, 2009). Keywords: Rachmaninoff; Steinway; Recordings; Piano performance; America; Twentieth Century; Reception. Includes abstract. Includes bibliographical references.
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Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Ivanova, Anastassia. "Sergei Rachmaninoff`s piano concertos the odyssey of a stylistic evolution /". College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3544.

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Abstract (sommario):
Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Mo, Hea-Kyoung. "The use of fantasies in piano works from Mozart to Rachmaninoff". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3072.

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Collins, Dana Livingston. "Form, harmony, and tonality in S. Rakhmaninov's three symphonies". Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/184555.

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Sergey Rakhmaninov wrote three symphonies in different periods of his life. The First Symphony in D Minor, opus 13 (1895) reflects his style as an apprentice and beginning composer; the Second Symphony in E Minor, opus 21 (1907), his mature style of the early 1900's; and the Third Symphony in A Minor, opus 44 (1936), his style at the end of his life in the United States. Each symphony is representative of his musical style at its time of composition. In addition, the evolution of his musical language can be traced through a study of various components of these three works. Structural, harmonic, and tonal aspects of each of the three symphonies are the musical components examined in this dissertation. The formal and tonal structures are examined and concisely presented in a series of charts for the individual movements of each symphony. The examination of the formal structure of the symphonies shows Rakhmaninov's gradual expansion and alteration of the symphonic plan, as well as the formal construction of the individual movements. The First Symphony stays within the boundaries of the student composer, while the Second Symphony expands every aspect of the symphonic blueprint. The Third Symphony is the antithesis of the Second Symphony and turns away from the excesses of that Symphony. Some of the changes in the composer's style can be seen in the tonal relationships and plans of each work. The tonalities of the symphonies and the individual movements are related to and helps determine the formal structure of the movements. For these reasons the important tonalities of each movement are presented on the formal charts. Rakhmaninov's harmonic language, in his early years, was considered daring and progressive, but, at the end of his life, anachronistic and conservative. The harmonic analysis traces and helps evaluate his progression from a daring to an anachronistic composer. The harmonic analysis will include a tabulation of sonority and modulation types, according to type and frequency of use, as well as investigation into some of the representative harmonic progressions of each symphony.
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Lee, Sanghie. "Rachmaninoff's Early Piano works and the Traces of Chopin's Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1539960507461835.

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Konoval, Michael Brandon. "Two piano recitals : solo and chamber music of Bartok, Brahms, Mozart and Rachmaninoff". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27375.

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Libri sul tema "Rachmaninoff"

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Rachmaninoff. New York: Oxford University Press, 2000.

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Geoffrey, Norris. Rachmaninoff. New York: Schirmer Books, 1994.

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Norris, Geoffrey. Rachmaninoff. 2a ed. London: Dent, 1993.

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Rachmaninoff, Sergei. The singer's Rachmaninoff. New York: Pelion Press, 1989.

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Martyn, Barrie. Rachmaninoff: Composer, pianist, conductor. Aldershot, Hants, England: Scolar Press, 1990.

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Cannata, David Butler. Rachmaninoff and the symphony. Innsbruck: Studien Verlag, 1999.

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Rachmaninoff, Sergei. Oxana Yablonskaya plays Rachmaninoff. New York: Connoisseur Society, 1993.

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Palmieri, Robert. Sergei Vasil'evich Rachmaninoff: Aguide to research. New York: Garland Pub., 1985.

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1910-, Leyda Jay, e Satina Sophia 1879-1975, a cura di. Sergei Rachmaninoff: A lifetime in music. Bloomington: Indiana University Press, 2001.

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Rachmaninoff, Sergei. Variations on a Theme of Chopin, Opus 22 ; On a Theme of Corelli, Opus 42 Complete: Variati (Belwin Edition). Van Nuys, CA: Alfred Publishing Company, 1989.

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Capitoli di libri sul tema "Rachmaninoff"

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Martynenko, Gregory. "Structural Interaction of Poetry and Music Components in Songs by Sergei Rachmaninoff". In Communications in Computer and Information Science, 127–39. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-27498-0_11.

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Martynenko, Gregory. "Singer’s Performance Style in Numbers and Dynamic Curves: A Case Study of “Spring Waters” by Sergei Rachmaninoff". In Communications in Computer and Information Science, 65–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05594-3_6.

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Biesold, Maria. "Rachmaninov, Sergej Vasil’evič". In Metzler Komponisten Lexikon, 611–12. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_236.

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Biesold, Maria. "Rachmaninov, Sergej Vasil’evič". In Komponisten Lexikon, 481–82. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_240.

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Biesold, Maria. "Rachmaninov, Sergej Vasil’evič". In Komponisten, 202–3. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_38.

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Bakulina, Ellen. "Tonal Pairing in Two of Rachmaninoff’s Songs". In Analytical Approaches to 20th-Century Russian Music, 13–31. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-3.

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Dovey, Matthew J. "Analysis of Rachmaninoff's piano performances using inductive logic programming (Extended abstract)". In Lecture Notes in Computer Science, 279–82. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/3-540-59286-5_67.

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Davies, Bronwyn, e Sally Macarthur. "Sensual Encounters with the Materiality of Rachmaninoff’s Piano Concerto No. 2". In Palgrave Critical University Studies, 229–51. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-50388-7_11.

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Grote, Adalbert. "Anders als Schumann — Sergej Rachmaninoffs Romanzen op. 8 nach Gedichten von Heinrich Heine". In Heine-Jahrbuch 2008, 91–117. Stuttgart: J.B. Metzler, 2008. http://dx.doi.org/10.1007/978-3-476-00360-7_5.

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Steinberg, Michael. "Rachmaninoff". In The Concerto, 356–70. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0029.

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Abstract (sommario):
Abstract Sergei Vasilievich Rachmaninoff was born at Semyonovo, district of Starorusky, Russia, on 1 April 1873 and died in Beverly Hills, California, on 28 March 1943. Using some material that goes back to the early 1890s, Rachmaninoff wrote the second and third movements of this Concerto in the fall of 1900 and performed them in Moscow on 15 December that year; his teacher and first cousin, Alexander Siloti, conducted. Rachmaninoff completed the first movement on 4 May 1901 and was soloist at the first complete performance on 9 November that year, again in Moscow and again with Siloti on the podium. The score is dedicated to Dr. Nikolai Dahl. Prokofiev began the Piano Concerto No. 2 in the winter of 1912-1913, completing it in April 1913, while still a student at the Saint Petersburg Conservatory.
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Atti di convegni sul tema "Rachmaninoff"

1

Zhabinsky, K. A. "“Case of S. Rachmaninoff – R. Pugno”: The Facts and Conjectures". In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-81-104.

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Until very recently, the idea that the relationship between S. Rachmaninoff and R. Pugno was not very close dominated musical and cultural studies. The situation changed in the late 2010s – early 2020s when some researchers put forward a hypothesis about Rachmaninoff’s “involvement” in the tragic death of Pugno, which occurred in Moscow during a tour in 1913. They stated that Rachmaninoff allegedly refused to help a seriously ill French colleague who asked to replace him in the announced concert program. This situation caused financial difficulties for Pugno and maybe even his sudden death (from a heart attack). The article analyzes the limited and incomplete source base underlying such statements and highlights the obviously biased interpretation of the few archival materials supporting this hypothesis. It makes an alternative assumption regarding the possible source of the allegations against Rachmaninoff, which requires further verification based on archival research.
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2

Blagoveshchenskaya, L. D., e A. V. Talashkin. "Bell-like sound as a Feature of S. V. Rachmaninov’s Artistic Style". In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-154-173.

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Rachmaninoff is one of those composers whose works show the influence of the ringing of bells on a grand scale. This is not only the “Bells” “lying on the surface”, but incorporation of the most prosperous tradition of the bell ringing. Despite this, there is no comprehensive work dedicated to this topic. The Russian historiography of this problem consists of sporadic and digressed observations in academic papers on entirely different issues or limited conclusions from the analyses focused on the single Rachmaninov’s work. Moreover, these publications often have errors, indicating that the authors are unfamiliar with the art of the bell ringing. The article presents an overview of the role of the bell ringing in the entire legacy of S. V. Rachmaninov and highlights significant issues related to this topic, which are worth independent research.
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3

Tsuchida, Sadakatsu. "On the Creative Power of Music (Performing Secrets and the State of “Godly Sorrow” of Sergei Rachmaninoff)". In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.053.

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4

Tonchuk, P. O. "“Elegie” by S. V. Rachmaninov as a Reflection of the Composer’s Worldview". In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-140-153.

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The article studies S. V. Rachmaninov’s famous work – “Elegie” op. 3. The background of the composer’s tragic perception of the world, determined by his worldview in general, influenced his running out of the limitations of elegy as the genre model. For instance, the concept of “tragic farewell” is one of the constants in the composer’s works and his perspective on life. The article highlights similarities and common points between the works of S. V. Rachmaninov and the elegies of French composers, creations of P. I. Tchaikovsky, the poetic work of V. K. Trediakovsky, as well as the ancient prototype of the genre – the chant of the double flute of Asia Minor. Moreover, the study shows the presence in the worldview of S. V. Rachmaninov the “East theme” and some elements of the musical language of P. I. Tchaikovsky, creatively revisited and integrated as a component of his artistic style.
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5

Nikolaeva, D. S., e O. N. Gudozhnikova. "Features of the author's style in chamber and instrumental ensembles S.V. Rachmaninov". In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-03-2019-39.

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6

Dmitrieva, E. E. "Rachmaninov`s Senar and Bunin`s Grasse: Russian Estate Life, Continued in Exile". In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-7-0-105-126.

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The idea that the Russian estate as a phenomenon lived a short life, which began in 1762 and abruptly ended in 1917 with the Russian Revolution and destruction of the institute of private landownership, dominated Russian historiography for quite a long period of time. However, in the last decades, this perspective changed significantly, and now researchers are more focused on studying what role estate life played in Russian culture after 1917. There were many forms of the existence of estate life: some estates transformed into museums of everyday life in the countryside or places where famous personalities lived and worked before their death, and so on. Others were restored or newly constructed in the Soviet times, especially during the wave of passeism, when writers reconsidered the estate world and the estate history as an essential component of cultural and historical memory, the “sanctuary of the soul.” Nevertheless, this myth-making also had a genuine basis – an attempt to reconstruct the estate history from abroad. The article, written in the genre of comparative case-study, is devoted to a comparative description of estate experiments, the actors of which were two famous Russian artists who found themselves in exile. The first case is the experience of I.A. Bunin, who settled in exile in the south of France and tried – under seemingly unfavorable conditions – to create some semblance of Russian estate life in a foreign land. The second case, a much more prosperous, at least in a material sense, is S.V. Rachmaninov’s project of building an estate on the shores of Lake Firvaldstät (Lucerne) to comfort his wife, who yearned for their Tambov family estate enormously. The article’s central question is what role such a resurrection of a piece of Russia abroad played in the exiled existence of Rachmaninov and Bunin, but also to what extent and how it was able to sublimate in their work.
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7

Tsuchida, Sadakatsu. "Rachmaninoff's "Mustard Seed". A Meaning of Triadic Strikes, in the End of "études-Tableaux Op. 39"". In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.18.

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