Tesi sul tema "Rachmaninoff"
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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.
Testo completo
2
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.
Testo completo
3
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.
Testo completoAbstract (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.
4
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.
Testo completoAbstract (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.
5
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.
Testo completo
6
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.
Testo completoAbstract (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.
7
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.
Testo completo
8
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.
Testo completoAbstract (sommario):
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.
9
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.
Testo completo
10
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.
Testo completo
11
Wu, Ching-Jen. "Twelve Rachmaninoff songs as transcribed for piano by Earl Wild : an introductory study". The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260290350.
Testo completo
12
McLean, Florence Anne. "Rakhmaninov's "Corelli" variations : new directions". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31115.
Testo completoAbstract (sommario):
Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life.
In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting.
The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds
of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition.
The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure.
Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon.Arts, Faculty of
Music, School of
Graduate
13
Radiushina, Marina. "A Performer's Perspective on the Technical Challenges and Interpretive Aspects of Sergei Rachmaninoff's Etudes-Tableaux Opus 39". Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/202.
Testo completoAbstract (sommario):
The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportunities that are appropriate to the lecture-recital format. In addition to the research presented in the script, the author incorporated a Power Point™ slide presentation (copies included with this document), audio excerpts from CD performances, live demonstrations on the piano, and a live performance of selected Etudes-Tableaux Op. 39 (all included on the DVD which supplements this document). The script includes a brief biographical sketch of Rachmaninoff, followed by the two research topics of performance practice, interpretive aspects and technical challenges. The Power Point™ presentation serves to enhance the content and to facilitate the explanations of some of the topics of the lecture. This is especially relevant when incorporating excerpts from music scores and examples of paintings. The CD audio excerpts and live demonstrations are intended to illustrate the details of the compositional and stylistic features and performance practice. Finally, the live performance of the Etudes-Tableaux Op. 39, and its audio/video documentation on DVD, confirms the study's research findings.
14
Kang, Heejung. "Rachmaninoff's Rhapsody on a Theme by Paganini, Op.43; Analysis and Discourse". Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kang%5Fheejung/index.htm.
Testo completo
15
Kono, Yutaka. "Discussion of transcribing music for tuba and a transcription of Sergei Rachmaninoff's Sonata for cello and piano in G minor, op. 19 /". Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075616.
Testo completo
16
Ko, Cha-Hui. "Solutions to technical difficulties in the rhapsody on a theme by Paganini, Opus 43 of Rachmaninoff". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384532673.
Testo completo
17
Michelson, Helena. "I. Music and poetic word : the romances of Sergei Rachmaninoff ; II. A journey metamorphosed for orchestra /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
Testo completo
18
Pisano, Paul W. "Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3". University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404385.
Testo completo
19
Ruttle, Mark. "Aspects of a Late Style in Sergei Rachmaninoff's Variations on a Theme of Corelli, Op. 42: a Lecture Recital, together with Three Recitals of Selected Works of J. Brahms, L. v. Beethoven, F. Chopin, C. Debussy, Zoltan Kodaly, M. Moussorgsky, and S. Prokofiev". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330593/.
Testo completoAbstract (sommario):
This document identifies elements of a stylistic change which occurred in several of the pieces Rachmaninoff wrote during the last years of his life. These elements reflect a progressive trend in his music, which certainly maintained in spite of the change, its characteristic sound. The Variations on a Theme of Corelli, Op. 42 illustrate these new developments in their lean, angular unison sonorities, stripped of chordal padding and virtuosic display, in their percussive, staccato and incisive ostinato rhythmic figures, astringent chromatic harmony and modern air of detachment. The Rhapsody on a Theme of Paganini, Op. 43 confirms this stylistic development in its remarkable similarity to the Corelli Variations. In the last twenty-six years of his life in exile from his homeland, making his way around the world as a concert pianist, Rachmaninoff wrote only six major works. Perhaps his increasing age, separation from homeland, and the musical revolutions surrounding him in the Western world produced this stylistic development.
20
Buxton, Robert S. "Musical Time and Memory: A Bergsonian Interpretation of Sergei Rachmaninoff's Prelude Op. 32 No. 10 in B Minor". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248480/.
Testo completoAbstract (sommario):
This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.
21
Luo, Yeou-Huey. "The Influence of Chinese Folk and Instrumental Music on Tcherepnin's "Chinese mikrokosmos": A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.A. Mozart, C. Debussy, S. Rachmaninoff, D. Shostakovich, and Others". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332339/.
Testo completoAbstract (sommario):
One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the rest of his arrangements, and, except for visits to Japan, he remained in China for three years, until the outbreak of the Sino-Japanese War in July, 1937.
During his three-year stay in China, Tcherepnin was greatly attracted to Chinese culture, and as a result, Chinese culture influenced his music to a significant degree. This essay examines the manner in which Tcherepnin's music was influenced by his experiences in China.
In order to precisely analyze the close affiliation between Chinese musical elements and Tcherepnin's "Chinese Mikrokosmos," many original Chinese sources proved indispensable in this study. These sources include Chinese folk music, theater music, instrumental music, religious music, and Chinese periodicals and newspapers that reported Tcherepnin's activities in China (1934-7).
The organization of this dissertation as follows: Chapter I provides a brief biographical sketch of Tcherepnin, traces his activities in China, and introduces one of his greatest "Chinese" compositions, "Chinese Mikrokosmos," which represents the fruits of his labors to scrutinize and absorb Chinese musical language. Chapters II and III are devoted to exploring how Chinese folk and instrumental music inspired Tcherepnin's "Chinese Mikrokosmos." Chapter IV summarizes this study.
22
Kwon, Suk-Rahn. "Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2464/.
Testo completoAbstract (sommario):
The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.
23
Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.
Testo completoAbstract (sommario):
Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.
24
Chiao, Yuanpu. "The changing style of playing Rachmaninoff's piano music". Thesis, King's College London (University of London), 2012. https://kclpure.kcl.ac.uk/portal/en/theses/the-changing-style-of-playing-rachmaninoffs-piano-music(222322e7-28b1-4a7c-90d2-70a778871d08).html.
Testo completoAbstract (sommario):
Rachmaninoff was not only a fine composer but also an extraordinary pianist. Due to his virtuosity, he established a powerful interpretative style for his music that clearly influenced his contemporaries. However, the way people have performed his piano music has changed over the years. In this thesis, I show how the recorded interpretations of some important figures have become 'authoritative renditions' for other pianists to follow and argue that these have caused performance fashions to change in specific areas and periods. From time to time, pianists have also reacted against existing norms. In the last two decades, fashions seem to have altered again: many pianists are now starting to return to an 'authentic' Rachmaninoff style in their performances. Since a performance takes place in a historical and cultural context, it is necessary to trace the context behind the sound. The thesis starts by discussing the meaning of performing schools (Chapter One), and the characteristics of the early Russian Piano School to which Rachmaninoff belonged (Chapter Two). Chapter Three focuses on Rachmaninoff’s own performance style. Examining the characteristics of his playing, I use the features of the early Russian Piano School to examine the extent to which Rachmaninoff’s performances were characteristic of the Russian tradition. Chapter Four discusses how pianists have played Rachmaninoff’s solo pieces over time, and Chapter Five how pianists have developed their editorial approaches and structural ideas when playing the composer’s Piano Concertos Nos. 2 and 3. While Chapter Four underlines the changing fashions across generations, the two case studies in Chapter Five suggest that recordings may have played a more significant role in this change than the score. In Chapter Six, I go back to the question of being ‘authentic’ and summarise different perspectives from my interviews with pianists, to see how they view these issues. I conclude the thesis with suggestions for further study.
25
Doti, Jacopo <1984>. "L'apprendistato e il debutto operistico di Sergej Rachmaninov". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6576/1/Doti_Jacopo_tesi.pdf.
Testo completoAbstract (sommario):
All’ascolto dell’incompiuto Matrimonio di Musorgskij, Borodin aveva sentenziato lapidariamente: «une chose manquée». Uguale commento viene riservato tuttora alla produzione operistica di Sergej Rachmaninov. In questo caso però non ci troviamo di fronte a un teatro rivoluzionario che si trova costretto a fare un passo indietro rispetto ai principi programmatici di cui si vuol far portatore, bensì a un potenziale inespresso, a un profilo drammaturgico mai giunto a piena maturazione. L’evidente eterogeneità della produzione operistica lasciataci in eredità dal compositore non permette infatti di determinarne con chiarezza le ‘linee guida’ e ne rende problematica la collocazione nel contesto musicale a lui coevo. Scopo della presente dissertazione è indagare l’apprendistato e il debutto operistico del compositore russo attraverso l’analisi di materiale documentario, testi letterari, partiture nonché delle fonti critiche in lingua russa, difficilmente accessibili per lo studioso italiano.
Il cuore dell’elaborato è un’analisi dettagliata di Aleko, un atto unico presentato nel 1892 dal compositore come prova finale al corso di ‘Libera composizione’ del Conservatorio di Mosca. L’opera viene considerata nel suo complesso come organismo drammatico-musicale autonomo (rapporto fonte/libretto, articolazione interna, sistema delle forme, costellazione dei personaggi, distribuzione delle voci, ecc.), ma inquadrata al contempo nel più ampio contesto del teatro musicale coevo (recezione critica sia da parte della pubblicistica coeva sia da parte della storiografia musicale). Viene fornita in appendice un’edizione del libretto con traduzione a fronte.
Incorniciano l’analisi dell’opera un capitolo in cui si offre una rilettura estetica del ‘caso Rachmaninov’ e un aperçu sulla produzione operistica matura del compositore, alla luce delle riflessioni proposte nel corso della dissertazione.«Une chose manqueé»: that’s what Borodin said, after hearing The Marriage, an unfinished opera by Mousorgsky. A similar comment may be expressed regarding Rachmaniov’s operatic legacy. Though, in this case we are facing a different kind of problem: the composer’s output is not an experimental cul-de-sac, but a tantalizing torso, which «one cannot contemplate without as sense of loss», as Richard Taruskin puts it. The present thesis aims at investigating Rachmaninov’s early operatic production through primary sources (literary texts, scores, letters, memoirs) and critical studies. The core of this dissertation is a thorough analysis of the one-act opera Aleko, presented by the composer as a graduating work at the Moscow Conservatory. The opera is analyzed in its poetic, dramatic, theatrical and morphological structures. Attention is paid also to the critical reception of the opera thorough an examination of contemporary reviews and recent secondary sources. A critical edition of the libretto with an Italian translation is supplied as well. The framework of the analysis consists in two different chapters: the first one is about Rachmaninov’s reception as a composer, the second one consists in an aperçu of the composer’s later operatic career.
26
Doti, Jacopo <1984>. "L'apprendistato e il debutto operistico di Sergej Rachmaninov". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6576/.
Testo completoAbstract (sommario):
All’ascolto dell’incompiuto Matrimonio di Musorgskij, Borodin aveva sentenziato lapidariamente: «une chose manquée». Uguale commento viene riservato tuttora alla produzione operistica di Sergej Rachmaninov. In questo caso però non ci troviamo di fronte a un teatro rivoluzionario che si trova costretto a fare un passo indietro rispetto ai principi programmatici di cui si vuol far portatore, bensì a un potenziale inespresso, a un profilo drammaturgico mai giunto a piena maturazione. L’evidente eterogeneità della produzione operistica lasciataci in eredità dal compositore non permette infatti di determinarne con chiarezza le ‘linee guida’ e ne rende problematica la collocazione nel contesto musicale a lui coevo. Scopo della presente dissertazione è indagare l’apprendistato e il debutto operistico del compositore russo attraverso l’analisi di materiale documentario, testi letterari, partiture nonché delle fonti critiche in lingua russa, difficilmente accessibili per lo studioso italiano.
Il cuore dell’elaborato è un’analisi dettagliata di Aleko, un atto unico presentato nel 1892 dal compositore come prova finale al corso di ‘Libera composizione’ del Conservatorio di Mosca. L’opera viene considerata nel suo complesso come organismo drammatico-musicale autonomo (rapporto fonte/libretto, articolazione interna, sistema delle forme, costellazione dei personaggi, distribuzione delle voci, ecc.), ma inquadrata al contempo nel più ampio contesto del teatro musicale coevo (recezione critica sia da parte della pubblicistica coeva sia da parte della storiografia musicale). Viene fornita in appendice un’edizione del libretto con traduzione a fronte.
Incorniciano l’analisi dell’opera un capitolo in cui si offre una rilettura estetica del ‘caso Rachmaninov’ e un aperçu sulla produzione operistica matura del compositore, alla luce delle riflessioni proposte nel corso della dissertazione.«Une chose manqueé»: that’s what Borodin said, after hearing The Marriage, an unfinished opera by Mousorgsky. A similar comment may be expressed regarding Rachmaniov’s operatic legacy. Though, in this case we are facing a different kind of problem: the composer’s output is not an experimental cul-de-sac, but a tantalizing torso, which «one cannot contemplate without as sense of loss», as Richard Taruskin puts it. The present thesis aims at investigating Rachmaninov’s early operatic production through primary sources (literary texts, scores, letters, memoirs) and critical studies. The core of this dissertation is a thorough analysis of the one-act opera Aleko, presented by the composer as a graduating work at the Moscow Conservatory. The opera is analyzed in its poetic, dramatic, theatrical and morphological structures. Attention is paid also to the critical reception of the opera thorough an examination of contemporary reviews and recent secondary sources. A critical edition of the libretto with an Italian translation is supplied as well. The framework of the analysis consists in two different chapters: the first one is about Rachmaninov’s reception as a composer, the second one consists in an aperçu of the composer’s later operatic career.
27
Lasarenko, Kim Andrei. "A Style Change in Rachmaninoff's Piano Music as Seen in the Second Piano Sonata in B-Flat Minor, Opus 36 (1913 and 1931 Versions)". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1389185090.
Testo completo
28
Tamura, Atsushi. "The revision of Rachmaninoff's second piano sonata, Op. 36". Thesis, Ulster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485470.
Testo completoAbstract (sommario):
This project focuses on Sergei Rachmaninoff's Piano Sonata no. 2 and the revisions it underwent over a period of some 70 years. Rachmaninoff's works are central to the piano literature; the second sonata is particularly popular because of its dramatic musical content. There is, however, another reason for interest in the piece: Rachmaninoff composed it in. 1913 but, 18 years later, dissatisfied with his early compositional style, he overhauled it extensively. It was not the only work for piano revised by the composer (some early, shorter pieces were also re-worked), and, needless to say, many other composers are well known for revising their music, but what makes the second sonata distinctive is the role in its evolution played by the composer's closest friend, the famous pianist Vladimir Horowitz. He frequently performed Rachmaninoff's works, including the second sonata. Nevertheless, he disagreed sJfongly with the 1931 revision, so much so that he appealed directly to the composer, requesting permission to combine the two versions to make a third. Rachmaninoff apparently gave his consent shortly before he died. Subsequently, Horowitz performed the sonata regularly in his own version, but its identity did not become any more fixed, for Horowitz's spontaneous performance style resulted in constant changes to the musical text. The core of this project is an examination of this constant change as demonstrated in the materials Horowitz used in the ongoing preparation of his version (preserved in the Irving S. Gilmore Music Library of Yale University) and in the various recordings he made. By approaching the revision of the second sonata (a familiar subject in Rachmaninoff studies) from the perspective of a uniquely privileged interpreter, the aim is to shed light on how the sonata changed in live musical situations, and thus on the relationship between its performance and (re-) composition.
29
Timoščuk, Roman. "Přehled klavírního díla Sergeje Rachmaninova, jeho tématika a psychologické aspekty". Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78802.
Testo completo
30
Švehláková, Zdeňka. "Klavírní dílo S. Rachmaninova se zaměřením na cyklus Moments Musicaux". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177955.
Testo completoAbstract (sommario):
This Diploma´s thesis is focused on a composer Sergej Vasiljevic Rachmaninov. It contains his biography and the list of his piano works. The main part of the work is focused on the piano cycle Moments musical, which consists of six compositions. The thesis includes a formal analysis and recommendation how to play and practice this work.
The final part of the thesis is devoted to the recordings of this cycle. It contains the list of the recordings and the comparison of the three representative pianists. There is also a piece of information about all of them.
31
Winiarski, Sofia. "Från Rachmaninov till Celibidache : En essä om (o)medvetandets musicerande". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3112.
Testo completoAbstract (sommario):
Examenskonsert i orkesterdirigering.
Kortversion av Mozarts Figaros bröllop, tillsammans med, och i bearbetning av bl a Cecilia Eriksson och Nils Löfgren. Sinfonietta med studenter från Kungliga musikhögskolan. Regi Ninni Molin.
32
Bystritskaya, Alina. "Les oeuvres de S. Rachmaninov d'apres des textes d'A. Pouchkine". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080012.
Testo completoAbstract (sommario):
Le travail de recherche présenté dans notre thèse, Les oeuvres de Rachmaninov d'après des textes de Pouchkine, s’élabore à partird’un large corpus littéraire. Il s’agit de comprendre comment s’opère la transposition musicale d’oeuvres littéraires. Le filconducteur de la thèse n’est autre que le dialogue fécond qui se noue entre le texte et la musique. Dans cette thèse, notre intérêts’est principalement porté sur la création musicale de deux opéras : Aleko e t Le Chevalier avare . Accessoirement, nous avonségalement contribué à l’étude de pièces courtes, comme les romances. La réflexion menée tout au long de cette thèse a pour cadrel’adaptation musicale de textes écrits. Il importe donc de comprendre comment s’opère la rencontre entre deux langages, et depercevoir l’acte créateur par lequel Rachmaninov parvient à ʺfaire chanterʺ des oeuvres écrites de Pouchkine. Le livret de l’opéraAleko inspiré du long poème Les Tsiganes lui est imposé pour la réussite d’une épreuve académique. À l’inverse, le compositeurs’est librement emparé du texte du Chevalier avare pour l’adapter à l’opéra. Chacun de ces deux textes comporte de nombreusescontraintes. Dans quelle mesure Rachmaninov a-t-il réussi à conserver le sens de ces oeuvres ? Pour Le Chevalier avare laquestion se pose moins que pour Aleko. En effet, le long poème de Pouchkine, Les Tsiganes, transformé en livret sous le titreAleko, contient de nombreux motifs romantiques propres à la jeunesse exilée du poète. Écrit dans une période bouillonnante quifait écho à Byron et au romantisme qui s’étend en Europe comme un vaste mouvement culturel et politique, ce poème est porté parun souffle particulier. Il n’est pas certain que l’opéra ait maintenu cette fulgurance originelle autour de la notion, alors ô combiendébattue, de la liberté. Par contre le travail du compositeur permet de faire résonner l’âme collective des Tsiganes et le lyrismedésenchanté par l’association des voix et de l’orchestre. Il y a dans l’adaptation de Rachmaninov une réelle recherche des effetssonores, aux dépens sans doute du sens premier et originel du poème. Avec Aleko, le compositeur se situe dans une certainetradition, avec Le Chevalier avare, il prend ses marques et entre de plein pied dans une forme revendiquée de modernité. Cettepièce réputée impossible à adapter musicalement permet au compositeur d’enrichir sa réflexion. Il s’inspire en effet du travailpréalablement mené par Stanislavskii pour la mise en scène d’un drame aux accents tragiques. L’adaptation est un véritable défiesthétique aux lois du genre de l’opéra. Rachmaninov relève le défi, cette fois, sans renier le texte. L’originalité de la créationmusicale consiste alors dans l’harmonie trouvée entre les voix masculines de l’opéra et l’orchestre. La notion de figuralismesapparaît donc comme centrale et essentielle dans notre travail de recherche. Si le terme appartient davantage à l’analyse de lamusique baroque, il conserve tout son sens dans le cadre d’une étude consacrée au peintre des sentiments qu’est Rachmaninov. Lestyle du compositeur repose pleinement sur l’usage de ces figuralismes quand il adapte Pouchkine. La thèse le montre, siRachmaninov s’est trouvé un style musical, tout à la fois singulier et puissant, c’est à la lecture des oeuvres de Pouchkine qu’il ledoitThe research work presented in our dissertation, Rachmaninov's works on Pushkin's texts, is based on a large literary corpus. It isa matter of understanding how musical transposition of literary works occurs. The guiding thread of the dissertation is basically thefruitful dialogue between the text and the music. Within this dissertation, our interest mainly focused on the musical creation oftwo operas: Aleko and The Miserly Knight. We also contributed to the study of short pieces, such as romances. The reflection wehave carried out throughout this dissertation is based on the musical adaptation of written texts. Therefore, it is important tounderstand how the meeting between two languages occurs, and to perceive the creative act by which Rachmaninov succeeds tomake Pushkin's written works “sing”. It is from the texts studies that the musical analysis of Rachmaninov’s operas got realized.The booklet of the Aleko opera inspired by the long poem The Gypsies is set fo the success of an academic test. On the contrary,the composer freely took possession of the text of The Miserly Knight to adapt it to the opera. Each of these two texts containsmany constraints. To what extent did Rachmaninov succeeded in maintaining the meaning of these works? For The MiserlyKnight, the question arises less than for Aleko’s. In fact, the long poem of Pushkin, The Gypsies, transformed into a booklet underthe title Aleko, contains many romantic motifs specific to the exiled youth of the poet. Written in a bubbling period that echoes toByron and to romanticism which extends in Europe as a huge cultural and political movement, this poem is carried by a particularbreath. It is not certain that opera has maintained this original dazzling around the notion, then much debated, of freedom. On theother hand the work of the composer makes it possible to echo the collective soul of the Gypsies and the lyricism disenchanted bycombining voices and orchestra. There is a real quest for sound effects in Rachmaninov's adaptation, at the expense of the firstsense and original meaning of the poem. With Aleko, the composer follows a certain tradition, with The Miserly Knight, he takeshis own marks and fully enters in a claimed form of modernity. This piece famed as impossible to adapt musically enables thecomposer to enrich his thought. Indeed, he is inspired by the work previously carried out by Stanislavskii for the staging of adrama that sounds really tragic. The adaptation is a real aesthetic challenge to the opera’s laws of the genre. Rachmaninov takes upthe challenge, this time, without disowning the text. Then, the originality of the musical creation consists in the harmony foundbetween the male voices of the opera and the orchestra.Thus, the notion of word painting appears as central and essential in our research work. If the term belongs more to the analysis ofbaroque music, it keeps its full meaning in the context of a study devoted to the painter of feelings such as Rachmaninov. Thecomposer style fully relies on the use of these word paintings when he adapts Pushkin. The thesis shows that if Rachmaninov hasfound a musical style, both singular and powerful, it is all due to the Pushkin’s work
33
Bystritskaya, Alina. "Les oeuvres de S. Rachmaninov d'apres des textes d'A. Pouchkine". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080012.
Testo completoAbstract (sommario):
Le travail de recherche présenté dans notre thèse, Les oeuvres de Rachmaninov d'après des textes de Pouchkine, s’élabore à partird’un large corpus littéraire. Il s’agit de comprendre comment s’opère la transposition musicale d’oeuvres littéraires. Le filconducteur de la thèse n’est autre que le dialogue fécond qui se noue entre le texte et la musique. Dans cette thèse, notre intérêts’est principalement porté sur la création musicale de deux opéras : Aleko e t Le Chevalier avare . Accessoirement, nous avonségalement contribué à l’étude de pièces courtes, comme les romances. La réflexion menée tout au long de cette thèse a pour cadrel’adaptation musicale de textes écrits. Il importe donc de comprendre comment s’opère la rencontre entre deux langages, et depercevoir l’acte créateur par lequel Rachmaninov parvient à ʺfaire chanterʺ des oeuvres écrites de Pouchkine. Le livret de l’opéraAleko inspiré du long poème Les Tsiganes lui est imposé pour la réussite d’une épreuve académique. À l’inverse, le compositeurs’est librement emparé du texte du Chevalier avare pour l’adapter à l’opéra. Chacun de ces deux textes comporte de nombreusescontraintes. Dans quelle mesure Rachmaninov a-t-il réussi à conserver le sens de ces oeuvres ? Pour Le Chevalier avare laquestion se pose moins que pour Aleko. En effet, le long poème de Pouchkine, Les Tsiganes, transformé en livret sous le titreAleko, contient de nombreux motifs romantiques propres à la jeunesse exilée du poète. Écrit dans une période bouillonnante quifait écho à Byron et au romantisme qui s’étend en Europe comme un vaste mouvement culturel et politique, ce poème est porté parun souffle particulier. Il n’est pas certain que l’opéra ait maintenu cette fulgurance originelle autour de la notion, alors ô combiendébattue, de la liberté. Par contre le travail du compositeur permet de faire résonner l’âme collective des Tsiganes et le lyrismedésenchanté par l’association des voix et de l’orchestre. Il y a dans l’adaptation de Rachmaninov une réelle recherche des effetssonores, aux dépens sans doute du sens premier et originel du poème. Avec Aleko, le compositeur se situe dans une certainetradition, avec Le Chevalier avare, il prend ses marques et entre de plein pied dans une forme revendiquée de modernité. Cettepièce réputée impossible à adapter musicalement permet au compositeur d’enrichir sa réflexion. Il s’inspire en effet du travailpréalablement mené par Stanislavskii pour la mise en scène d’un drame aux accents tragiques. L’adaptation est un véritable défiesthétique aux lois du genre de l’opéra. Rachmaninov relève le défi, cette fois, sans renier le texte. L’originalité de la créationmusicale consiste alors dans l’harmonie trouvée entre les voix masculines de l’opéra et l’orchestre. La notion de figuralismesapparaît donc comme centrale et essentielle dans notre travail de recherche. Si le terme appartient davantage à l’analyse de lamusique baroque, il conserve tout son sens dans le cadre d’une étude consacrée au peintre des sentiments qu’est Rachmaninov. Lestyle du compositeur repose pleinement sur l’usage de ces figuralismes quand il adapte Pouchkine. La thèse le montre, siRachmaninov s’est trouvé un style musical, tout à la fois singulier et puissant, c’est à la lecture des oeuvres de Pouchkine qu’il ledoitThe research work presented in our dissertation, Rachmaninov's works on Pushkin's texts, is based on a large literary corpus. It isa matter of understanding how musical transposition of literary works occurs. The guiding thread of the dissertation is basically thefruitful dialogue between the text and the music. Within this dissertation, our interest mainly focused on the musical creation oftwo operas: Aleko and The Miserly Knight. We also contributed to the study of short pieces, such as romances. The reflection wehave carried out throughout this dissertation is based on the musical adaptation of written texts. Therefore, it is important tounderstand how the meeting between two languages occurs, and to perceive the creative act by which Rachmaninov succeeds tomake Pushkin's written works “sing”. It is from the texts studies that the musical analysis of Rachmaninov’s operas got realized.The booklet of the Aleko opera inspired by the long poem The Gypsies is set fo the success of an academic test. On the contrary,the composer freely took possession of the text of The Miserly Knight to adapt it to the opera. Each of these two texts containsmany constraints. To what extent did Rachmaninov succeeded in maintaining the meaning of these works? For The MiserlyKnight, the question arises less than for Aleko’s. In fact, the long poem of Pushkin, The Gypsies, transformed into a booklet underthe title Aleko, contains many romantic motifs specific to the exiled youth of the poet. Written in a bubbling period that echoes toByron and to romanticism which extends in Europe as a huge cultural and political movement, this poem is carried by a particularbreath. It is not certain that opera has maintained this original dazzling around the notion, then much debated, of freedom. On theother hand the work of the composer makes it possible to echo the collective soul of the Gypsies and the lyricism disenchanted bycombining voices and orchestra. There is a real quest for sound effects in Rachmaninov's adaptation, at the expense of the firstsense and original meaning of the poem. With Aleko, the composer follows a certain tradition, with The Miserly Knight, he takeshis own marks and fully enters in a claimed form of modernity. This piece famed as impossible to adapt musically enables thecomposer to enrich his thought. Indeed, he is inspired by the work previously carried out by Stanislavskii for the staging of adrama that sounds really tragic. The adaptation is a real aesthetic challenge to the opera’s laws of the genre. Rachmaninov takes upthe challenge, this time, without disowning the text. Then, the originality of the musical creation consists in the harmony foundbetween the male voices of the opera and the orchestra.Thus, the notion of word painting appears as central and essential in our research work. If the term belongs more to the analysis ofbaroque music, it keeps its full meaning in the context of a study devoted to the painter of feelings such as Rachmaninov. Thecomposer style fully relies on the use of these word paintings when he adapts Pushkin. The thesis shows that if Rachmaninov hasfound a musical style, both singular and powerful, it is all due to the Pushkin’s work
34
Swanevelder, J. de Ville. "'n Analitiese ondersoek van sewe van Sergei Rachmaninof se Preludes, opp. 23 en 32". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/15430.
Testo completoAbstract (sommario):
Bibliography: leaves 68-70.Ten spyte van toenemende belangstelling in die solo-klavierwerke van Sergei Rachmaninof, is daar nog steeds beperkte studies vir die bestudering daarvan beskikbaar. Die doel van hierdie studie is die ontleding van 'n aantal aspekte wat 'n invloed op die bestudering en uitvoering van sewe van Rachmaninof se Preludes,.Opp. 23 en 32, het. In die studie word die historiese gebeure rondom sy lewe bespreek, wat dien as agtergrond tot die komposissie van Rachmaninof se Preludes. Die bespreking oor die klawerbordprelude verwys na die onstaan van klawerbordpreludes, die preludes uit Das Wohltemperierte Clavier van J. S. Bach, en volg dan die ontwikkeling van diengenre met die Preludes van Chopin en Rachmaninof. Sodoende word Rachmaninof se Preludes binne perspektief tot die ontwikkeling van die genre geplaas. In die laaste hoofstuk word 'n styl-tegniese ontleding van die sewe preludes van Rachmaninof gedoen, met verwysing na musikale inhoud en uitvoeringsprobleme. Ten slotte word gevolgtrekkings ten opsigte van die bespreekte werk gemaak.
35
Caillet, Laurent. "L'œuvre pour piano de Serge Rachmaninov (1873-1943) : langage et style". Paris 4, 2007. http://www.theses.fr/2007PA040244.
Testo completoAbstract (sommario):
Serge Rachmaninov, compositeur, pianiste et chef d'orchestre russe (1873-1943), occupe dans la musique du début du XXe siècle une situation paradoxale. Resté à l'écart des courants musicaux de son temps, Rachmaninov a toutefois développé une esthétique d'une originalité surprenante, dont le style se distingue au sein de la musique russe. En prenant en compte l'intégralité du corpus pour piano et des enregistrements discographiques de l'interprète, nous avons tenté de répertorier les diverses constantes de son langage musical et de son style pianistique. Usant de procédés d'écriture caractéristiques, le compositeur a contribué à sa manière au renouvellement de la musique pour piano, et créé un style monumental mêlant étroitement lyrisme, somptuosité harmonique et virtuosité. Ce travail d’analyse nous a permis de considérer plus précisément la place de Rachmaninov dans le paysage musical de son époque. Profondément marqué par son pays natal, influencé par l'esthétique des compositeurs romantiques, Rachmaninov laisse derrière lui une oeuvre d’une grande richesse, qui s'inscrit au coeur des problématiques de la première moitié du XXe siècleIn the world of early twentieth century music, Sergei Rachmaninov (1873-1943), the Russian composer, pianist and conductor, is a paradox. Although he stayed rather outside the musical trends of his time, he nevertheless developed a surprisingly original aesthetic approach, with a distinctive style within the field of Russian music. Taking into account his entire works for piano and his phonographic recordings as pianist, we attempt to identify and systematise the various constants of his musical language and pianistic style. Using typical writing procedures, the composer contributed, in his way, to the renewal of music for the piano, and created a monumental style wherein lyricism, harmonic sumptuousness and virtuosity are tightly mixed. This analytical work led us to consider more precisely Rachmaninov's place in the world of music in his time. Rachmaninov was deeply marked by his country of birth, and influenced by the esthetics of the romantic composers, and his collected works, of a great richness, are intimately linked to the problems of the first half of the twentieth century
36
Chung, So-Ham Kim. "An analysis of Rachmaninoff's Concerto no. 2 in C minor, op. 18 : aids towards performance". Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1235232062.
Testo completo
37
Generalow, Alice. "The Orthodox Concert Stage: Performing Rachmaninoff's All-Night Vigil, Op. 37 in a Liturgical Style". Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594557.
Testo completoAbstract (sommario):
The purpose of this study is to demonstrate that Sergei Rachmaninoff's All-Night Vigil, op. 37 can successfully be performed by choral ensembles in a liturgical style by careful selection and grouping of individual movements, along with the interpolation of other chants or musical settings traditionally used in the Russian Orthodox Church that are not part of the composer's original score. This would make the work more accessible to choirs and conductors that may otherwise not be inclined to program an unaccompanied work over seventy minutes in duration. Additionally, such performances would more accurately reflect the Russian liturgical performance practice history of the work as traced in this document. This document explores the history and form of the All-Night Vigil service, Rachmaninoff's exposure to the Orthodox Church, performance decisions made for the viva voce presentation portion of this document, and the performance history of Rachmaninoff's All-Night Vigil before and after the Russian Revolution.
38
Lee, Ji Young. "A Style Study of Sergei Rachmaninoff's and Lowell Liebermann's Rhapsodies on a Theme of Paganini". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047656.
Testo completo
39
Chung, So-Ham Kim. "An analysis of Rachmaninoff's Concerto No. 2 in c minor, opus 18: Aids towards performance /". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487591658173218.
Testo completo
40
Ivsinovic, Karmela. "Pianoteknik en konstnärlig och pedagogisk utmaning : från start till slutresultat med Rachmaninovs Preludium Op. 32 No. 10 i b-moll". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2344.
Testo completoAbstract (sommario):
Det krävs en underliggande kunskap och en utvecklad grund för att kunna uppnå ett önskvrt resultat med ett verk. Denna undersökning har gått ut på att hitta olika tekniska tillvägagångssätt för pianospel med hjälp av Rachmaninovs preludium Op. 32 No. 10 i b-moll. Genomförandet har skett utifrån litteraturstudier, infallsvinklar från Johan Fröst, observationer av processen och dokumentation i form av videoinspelning. Undersökningen har resulterat i kunskap om olika tekniska tillvägagångssätt och lösningar till preludiets svårigheter, om Rachmaninovs livshistoria och om inspirationskällan till preludiets uppkomst. I sin förlängning kan den för andra möjliggöra individuella interpretationer av preludiet, egna ställningstaganden om vilka övningar som känns användbara och självständiga val av vad som önskas tillämpas i det egna pianospelet.
41
Nordmark, Linus. ""Bra musik finns ju redan" : En processbeskrivning av hur man drar nytta av en annan tonsättares mästerverk". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64034.
Testo completoAbstract (sommario):
Det här arbetet är en processbeskrivning av hur jag komponerat pianostycket Preludium i Db-dur. Arbetet innefattar en omsorgsfull och omfattande djupdykning i musikaliska teman och utvalda motiviska element från ett preludium av Sergej Rachmaninov, Preludium nr. 4 i D-dur (op. 23, 1903). Valet att göra den här undersökningen grundar sig i ett brinnande intresse för den klassiska pianorepertoaren, såväl som en intensiv fascination över hur ett välkomponerat musikverk är uppbyggt. Som kompositör är det vissa frågor jag ställer mig nästan dagligen när jag lyssnar på musik som tilltalar mig: Varför tycker jag att musiken är bra? Hur tänkte tonsättaren, och kan jag dra nytta av tonsättarens metoder? Genom att steg för steg gå igenom varje del av min arbetsprocess vid både analys och komponerande hoppas jag kunna exemplifiera en användbar kompositionsmetod till läsaren. Jag delar också med mig av de svårigheter jag stött på såväl som lärdomar jag erhållit under arbetets gång. Resultatet av arbetet blev ett pianostycke baserat på de musikaliska element jag fann intressanta från Rachmaninovs preludium.
42
Chang, Lin-Min. "A Study of Tyzen Hsiao’s Piano Concerto, Op. 53:A Comparison with Rachmaninoff’s Piano Concerto No. 2". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525704884317404.
Testo completo
43
Cunha, Taíssa Poliakova Pacheco. "A influência dos sinos em obras para piano de Messiaen, Debussy e Rachmaninov e as respectivas consequências na sua performance". Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/21824.
Testo completoAbstract (sommario):
Mestrado em MúsicaEste trabalho procura confrontar as características específicas das diferentes tradições sineiras, quer da Europa, quer da Rússia, com as obras Noël de Olivier Messiaen, Cloches à travers les feuilles de Claude Debussy e Sonata op. 36 nº 2 de Sergei Rachmaninov. Para isso, são apresentadas e estudadas as escolas sineiras, analisados os trechos musicais com inspiração sineira das obras seleccionadas e enquadrados biograficamente os três autores em causa. Através desta confrontação encontrei soluções técnicas e interpretativas para os referidos trechos musicais que respeitam as diferentes especificidades das tradições sineiras inspiradoras. Pretendo, também, demonstrar que este conhecimento pode sustentar uma performance fiel aos mundos musical, cultural e social destes compositores.
This work seeks to confront the specific characteristics of the different bellringing traditions, both European and Russian, with the pieces Noël by Olivier Messiaen, Cloches à travers les feuilles by Claude Debussy and Sonata op. 36 no. 2 by Sergei Rachmaninov. For this purpose, I present and study these bellringing schools, analyze the musical excerpts with bellringing inspiration of the selected pieces and contextualize the three above-mentioned authors biographically. Following of this confrontation I propone technical and interpretative solutions for the afore-mentioned musical excerpts which respect the different specificities of the bellringing traditions that inspired them. It is also my intention to demonstrate that this knowledge can support a performance that is faithful to the musical, cultural and social worlds of these composers.
44
Lin, Kuo-chen, e 林幗貞. "The interpretation of Rachmaninoff". Thesis, 2001. http://ndltd.ncl.edu.tw/handle/40568287174850800430.
Testo completoAbstract (sommario):
碩士國立臺灣師範大學
音樂研究所
90
This thesis is the thorough research regarding the interpretation and realization in the performance of Sergei Rachmaninoff’s piano work “Variations on a theme of Chopin,op.22” written in 1902. In this paper，the author departs from the inspirations and background of the Variations’ composition, the detailed analysis of each variation, and the thorough comparison of the Variations. To conclude the analysis of each variation, it is strict and still within the criteria of the theme in variation I to X in modes, structures, harmonies.few breaks between each variation in performance. Since the variation XI and the following, it shows freer and more individual in style. The relationship between theme and variation escapes from the precedent mechanical characteristic to merely maintain of motivic and rhythmic patterns. Because of the apparent modal and structural changes, it needs a short break between variations to show the unique and individuality in performance. The juxtaposition of the compositional techniques, musical structures, highly virtuosic style, and the bravura group of notes in complexity of reading, present the definite piano music style of Russian Post-Romanticism. According to the examination of the compositional design, it is a good variation to discover the special arrangement of the tempo and rhythm, to display the variety in texture, and the best example to show off the genre itself with the highly compositional techniques. To performers, from handling the basic elements of the tempo changes to further realizing the sound texture, voicing, the elaboration of counterpoint and harmonies, the color, and sonority, they become the major issues to work on. This research, indeed for pianists, is pursuing the goal of interpretation accuracy, inspiration, and achieving the accomplishment in balance between rationality and sensitivity.
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Glover, Angela Streem James. "An annotated catalog of the major piano works of Sergei Rachmaninoff". Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08262003-154535/.
Testo completoAbstract (sommario):
Treatise (D.M.A.)--Florida State University, 2003.Advisor: James Streem, Florida State University, School of Music. Title and description from treatise home page (viewed 9-23-04). Document formatted into pages; contains 86 pages. Includes biographical sketch. Includes bibliographical references.
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Wu, Yen-Jin, e 吳彥瑾. "Sergei Rachmaninoff Preludes for piano". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/8wmy4r.
Testo completo
47
Wu, Jung-wei, e 吳容維. "A Study of Sergei Rachmaninoff “Preludes,” Op. 32". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/qe4dx7.
Testo completoAbstract (sommario):
碩士國立臺南大學
音樂學系碩士班
100
Scope of this research is narrow down to “Preludes, ”Op.32 which was written in 1910 by Sergei Rachmaninoff. Rachmaninoff had presented his debut and following tour in America in 1909. This debut was a great success and the audiences were admiring his efforts on performing. This great achievement enhanced his confidence on composition and inspired him for creating this research subject, “Preludes, ”Op.32 in the following year. This creation is also considered as a mature one. This research starts from discussing the development of preludes from references, and follows with some words on Rachmaninoff’s life and important elements which shaped or influenced his music style. Afterwards, the essay will bring a further discussion under the background of his Prelude, especially Op. 32. First, we will analyze all these 13 preludes on their structures and music styles; then finalize it with whole scale integration among rhythm, harmony, texture, melody, and structure. Following the steps above, it is shown the innovation of Rachmaninoff’s “Preludes, ” Op.32 is not on forms, but on combining his personal style into harmony, rhythm, and texture. To describe more specifically, in harmony aspect, he used more chromaticism and seventh chord to gain creativity; in rhythm aspect, he used short rhythms to endue lives to music; in texture aspect, he put several textures to color music. The purpose of this research is to make performers read more into Rachmaninoff’s music style and the true value of “Preludes, ” Op.32itself.
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Wen-chin, Chen, e 陳玟瑾. "The Study of Rachmaninoff Piano Concerto No.3". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/10266493037498914283.
Testo completo
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Huang, Chiao-Li, e 黃喬莉. "The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff’s《Moment Musicaux》 The Analysis and Interpretation of Rachmaninoff'". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/42565008930150952634.
Testo completoAbstract (sommario):
碩士國立臺北教育大學
音樂學系碩士班
97
Abstract In the late 19th century, many new trends emerged from musical field, including Impressionism and Expressionism. In spite of that, the Russian composer, Sergei Rachmaninoff, still succeeded to the compositional manner of the Romantic period and enhanced it. He was not only a brilliant pianist, but also a fantastic conductor. His recordings are still wide-spreaded. This thesis takes Rachmaninoff’s 《Moment Musicaux》as the topic with the goal of understanding his music style and compositional technique. The first part of this paper is the study of Rachmaninoff’s life and piano works. The second part is the analysis of《Moment Musicaux》to its content. The last part is the performance interpretation. It is hoped that by way of having an in-depth understanding of 《Moment Musicaux》, better interpretations of these pieces are presented while performing them. Keywords：Rachmaninoff、the Russian composer、Moment Musicaux
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Wu, Yu-Ping, e 吳玉萍. "Sergei Rachmaninoff Cello Sonata in G minor, op.19". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/vq9jtd.
Testo completoAbstract (sommario):
碩士國立臺北藝術大學
管絃與擊樂研究所碩士班
99
Sergei Vasilievich Rachmaninoff1 April was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors. The piano is featured prominently in Rachmaninoff''s compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.