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1
Kivistö, Tuomas. "Pianistin kysymys soiton hallinnasta". Trio 12, n. 2 (31 dicembre 2023): 69–74. http://dx.doi.org/10.37453/tj.142358.
Testo completoAbstract (sommario):
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.
2
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.
Testo completoAbstract (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”.
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.
Testo completoAbstract (sommario):
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.
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.
Testo completoAbstract (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.
5
Frith, Michael. "Rachmaninoff". Nineteenth-Century Music Review 4, n. 2 (novembre 2007): 183–87. http://dx.doi.org/10.1017/s1479409800001038.
Testo completo
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.
Testo completoAbstract (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.
7
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.
Testo completoAbstract (sommario):
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.
8
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.
Testo completoAbstract (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.
9
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.
Testo completoAbstract (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.
10
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.
Testo completoAbstract (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.
11
Merzlov, A. N. "VOCAL CYCLE BY SERGEY RACHMANINOV "SIX POEMS" FOR VOICE AND PIANO, OR. 38: FEATURES OF MUSIC CONTENT AND FORM". Arts education and science 1, n. 1 (2021): 68–79. http://dx.doi.org/10.36871/hon.202101008.
Testo completoAbstract (sommario):
Cycle "Six Poems", op. 38 (1916) is chronologically the last chamber vocal work in the works of Rachmaninoff. This work differs in many respects from the composer's previous vocal opuses. Throughout his life, Rachmaninov only once designated the genre of the chamber vocal form as a "poem" - this is how the opus was titled in the first editions. The artistic perspective of the composition, its main literary and musical images are quite typical for the culture of the modern era - a direction with which the work of the composer is usually not usually associated. The article provides a detailed analysis of both literary and musical text and establishes compositional and semantic relationships between individual numbers of the cycle. "Six Poems" in the context of the entire composer heritage of Rachmaninoff are considered as one of the possible keys for understanding the musical content of his works of the middle and late period of creativity.
12
Svistunenko, Tatiana Anatolevna. "“The Bells” by Sergei Rachmaninoff: The poem “The Bells” by Edgar Allan Poe in the translation by Konstantin Balmont as a source for the birth of an individual musical form. Part II: Structure peculiarities". Manuscript 16, n. 3 (26 settembre 2023): 195–213. http://dx.doi.org/10.30853/mns20230045.
Testo completoAbstract (sommario):
This paper is the second part of the publication: Svistunenko T. A. “The Bells” by Sergei Rachmaninov: The poem “The Bells” by Edgar Allan Poe in the translation by Konstantin Balmont as a source for the birth of an individual musical form. Part I: background and history of creation // Manuscript. 2023. Vol. 16. Iss. 2. The first part gave a description of E. A. Poe’s creative work and his aesthetic views; characterised the general composition of K. D. Balmont’s translation of E. A. Poe’s poem “The Bells” and presented the history of creation of the poem “The Bells” by S. V. Rachmaninoff and the public perception of this work. In this article, the author conducts a detailed analysis of each of the four parts of S. V. Rachmaninoff’s poem “The Bells”, which makes it possible to identify a number of general patterns inherent in the composition as a whole. As a result, the peculiarities of main theme development in each part of the work have been determined; it has been substantiated that in S. V. Rachmaninoff’s poem “The Bells”, there is a special type of a main theme, which, despite being one of several “seeds”, develops according to monothematic laws. All the structure peculiarities in the poem testify to the creator’s individuality and the composer’s nuanced solution of questions of musical form, which reflects his desire to convey the very essence of the content of the poetic work in music.
13
Threlfall, Robert. "Rachmaninoff's 24 Preludes, and some thoughts on editing his piano music". Tempo, n. 180 (marzo 1992): 15–17. http://dx.doi.org/10.1017/s0040298200025523.
Testo completoAbstract (sommario):
Towards the end of his life Sergei Rachmaninoff was interviewed for The Etude, and in the resulting article (which appeared in December 1941) he was reported as follows: ‘… to say what you have to say, and to say it briefly, lucidly, and without any circumlocution, is still the most difficult problem facing the creative artist’. Many who remain unconvinced by Rachmaninoff's larger-scale compositions recognize the precision of utterance of his songs and piano Preludes; all admirers of his work accept the latter collection as a convincing demonstration of his solution to this problem.
14
Kirdeieva, Maiia. "Nostalgia as a cultural factor in the creation of S. Rachmaninoff ’s prelude Op. 32 No. 10 in B minor (1910) in the context of impressions from A. Böcklin’s painting Returning Home". Artistic Culture Topical Issues, n. 18(1) (31 maggio 2022): 140–45. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260441.
Testo completoAbstract (sommario):
The paper analyzes the memoirs of B. Moiseiwitsch, a pianist, S. Rachmaninoff ’s contemporary and friend, and examines the musical work which was first discovered and introduced in the art history—Prelude Op. 32 No. 10 in B minor (1910)—composed under the impression from A. Böcklin’s painting Returning Home (1887). Nostalgia isstudied as a cultural factor in the creation of the musical work by S. Rachmaninoff in the context of impressions from A. Böcklin’s painting. The fact that awork by S. Rachmaninoff based on the B. Moiseiwitsch’s memoirs about one of his meetings with S. Rachmaninoff was discovered and introduced in musicology. This constitutes the academic and theoretical novelty of the paper. Therefore, academic inquiry is interdisciplinary, overlapping with cultural studies. The understanding of a correlation between fine and musical arts and historical period, which allows to explain certain phenomena in culture, was expanded. The notions of nostalgia, mirror metaphor, artist biography, and romantic wanderings were substantiated. The aim of the work is to consider nostalgia as a cultural factor in the creation of S. Rachmaninoff ’s Prelude No. 10 in B minor. The subject matter of research is the S. Rachmaninoff ’s nostalgia that was projected on the writing of this musical work. Comparative approach revealed common and distinct features in the content, imagery, and mood of A. Böcklin’s painting and S. Rachmaninoff ’s prelude. In addition, the issues of romantic wanderings were considered, revealing the approaches to romantic interpretation of the eternal mythologeme of the journey: travel as a path to knowledge, wanderings as a curse, exile or travel as an approach to new artistic horizons. This musical piece is closely linked to religious and philosophical ideas of life, death and immortality, of sin, redemption and forgiveness, and to the prevailing idea of transfiguration.
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Guenther, Roy J., e Barrie Martyn. "Rachmaninoff: Composer, Pianist, Conductor". Notes 48, n. 4 (giugno 1992): 1264. http://dx.doi.org/10.2307/942126.
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Alexander, Lois, e Max Harrison. "Rachmaninoff: Life, Works, Recordings". Slavic and East European Journal 51, n. 4 (1 dicembre 2007): 820. http://dx.doi.org/10.2307/20459602.
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Griffiths, Steve, e Geoffrey Norris. "The Master Musicians Rachmaninoff". Musical Times 135, n. 1811 (gennaio 1994): 37. http://dx.doi.org/10.2307/1002832.
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Кривицкая, Е. Д. "Searching for a Unified Style". Музыкальная академия, n. 3(783) (29 settembre 2023): 246–55. http://dx.doi.org/10.34690/336.
Testo completoAbstract (sommario):
150-летие со дня рождения Рахманинова стало событием общероссийского масштаба. Впервые юбилей композитора столь широко отмечался на родине, с которой у него непросто складывались отношения. На данном этапе можно констатировать безоговорочное признание Рахманинова как русского классика, и это стало импульсом к появлению нового научного труда, посвященного стилю композитора. Ученые Московской консерватории поставили перед собой оригинальную задачу — написать коллективную монографию, где стиль Рахманинова рассматривался бы с разных, но не противоречащих друг другу позиций. Заведующая кафедрой истории русской музыки И. А. Скворцова (инициатор создания этого труда) сфокусировалась на вопросе правомерности включения Рахманинова в систему координат эпохи модерна и развернула убедительную систему аргументов. Проректор по научной работе К. В. Зенкин показал стилистические аллюзии и обозначил диалог Рахманинова с многочисленными предшественниками. Сотрудники кафедры истории русской музыки посвятили свои исследования особенностям формообразования и звуковысотной организации в музыке композитора сквозь призму национальной песенной традиции (Т. А. Старостина), индивидуальному стилю на примере его фортепианных концертов (Н. Д. Свиридовская), духовным сочинениям в контексте церковно-певческого канона (Н. В. Гурьева), симфоническим партитурам и их стилевым закономерностям (Д. И. Топилин). The sesquicentenary of Rachmaninoff’s birth became an event of an all-Russian scale. For the first time, the anniversary of this composer was celebrated so widely in his homeland, with which he had a complicated relationship. At this stage, one can state the absolute recognition of Rachmaninoff as a Russian classic, that became the impetus for the appearance of a new scientific work dedicated to the composer’s style. The scientists of Moscow Conservatory set themselves an original task—to write a collective monograph, where Rachmaninoff’s style would be regarded from different, but not contradictory positions. Head of the Russian Music History Department I. A. Skvortsova (initor of this work) focused on the legitimacy of including Rachmaninoff in the modern era coordinate system and deployed convincing arguments. Vice-Rector for Research K. V. Zenkin set the task of showing stylistic allusions and designating Rachmaninoff’s dialogue with numerous predecessors. Members of the Russian Music History Department of Moscow Conservatory dedicate their research to the features of formation and pitch organization in Rachmaninoff’s music through the prism of the national folk-song tradition (T. A. Starostina), the composer’s style on the example of his piano concertos (N. D. Sviridovskaya), and religious compositions in the context of Orthodox church music singing canon (N. V. Guryeva), symphonic scores and their stylistic similarities (D. I. Topilin).
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Ravas, Tammy. "Rachmaninoff: Life, Works, Recordings (review)". Notes 63, n. 4 (2007): 842–44. http://dx.doi.org/10.1353/not.2007.0094.
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Guminiuk, Stanislav. "Sergei Rachmaninoff’ Variations on a Theme of Chopin: Genre and Style Interactions". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n. 131 (30 giugno 2021): 80–93. http://dx.doi.org/10.31318/2522-4190.2021.131.243220.
Testo completoAbstract (sommario):
The article highlights various aspects of the stylistic interaction process within the variation genre in Rachmaninoff’ piano works on the example of Variations on the Theme of Chopin. The relevance of the study is in the emphasis on interpretation aspects in the process of creating a performance version of a musical work. The mutual influences of the artist’s performing and compositional creativity are considered. The range of stylistic appeals to different layers of the musical context of the work is determined. The ways of interrelations with tradition are presented in combination with the semantic coordinates of the hypothetical references to performance repertoire of Rachmaninoff-pianist. Methodology. In considering Variations of the Theme of Chopin to reflect the interaction of Rachmaninoff’ performing and composing creativity, the principles of structural-functional, genre-style, performing and system analysis methods are applied. This allows deepening the interpretation potential of the work. How the study was done. This perspective of scientific attention to Variations on the theme of Chopin by Rachmaninoff in the organic combination of stylistic contexts of his composition and performance determines the scientific novelty of the study. The integration of various levels of interpretation in the pianist’s work process is especially relevant for performing a complex work of the piano top repertoire. Main objective of the study. The purpose of this article is to study this stylistic polyphony, the intersection of Rachmaninoff’ style with the piano style of previous eras and the influence of the composer’s performance experience on the process of building the texture of the work. The focus of the research is genre-style interactions in Chopin’s Variations on the levels of composer and performer’s interpretation and the main models of working with external texts that the author uses in the work. Results and conclusions. The whole layer of hypothetical references of the work to the performance of Rachmaninoff-pianist continues the rather real lines of interrelations with tradition, which reflected in the theme and the intonation plan of the forming of the variation cycle. Each of the variations of the cycle reveals clear allusions to the range of certain author’s works of the composer and a number of opuses from his huge repertoire. The variant circle deploying on the principle of increasing distance from the primary source by figurative definition, genre and style metamorphoses, structural features. In the meantime, composer keep connection with the Chopin theme in each part of the cycle (sometimes only at the micro-intonational level). Rachmaninoff created a symphonic poem for piano. Its scale, dynamics of unfolding, polyphonic plasticity and the beauty of piano colours inspirited by Chopin musical word. Significance. Therefore, Variations on a Theme of Chopin completes a number of variation masterpieces from beginning of 20th century. The finding results of this research can be used especially in the piano performing field.
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Topilin, Daniil I. "Semantic Constants in Preludes Op. 32 by Sergei Rachmaninoff". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 329–38. http://dx.doi.org/10.37816/2073-9567-2023-68-329-338.
Testo completoAbstract (sommario):
The present paper addresses the Preludes Op. 32 by Sergei V. Rachmaninoff. At first, the author presents the crucial from the researcher’s perspective semantic constants, i. e., the prevailing sense of nature and manorial life, including the correlation of indoor vs. outdoor states. The Preludes are replete with the foreboding of the impending fatal events of Russian history; they conceal oscillation between home warmth and wanderings. The idea of Russia, the idea of path, the idea of death as the pivotal elements of Rachmaninoff’s worldview manifest in the Op. 32. The author points out the relation to the major symphonic works of the period, such as the Symphony No. 2 in E minor, Op. 27, the choral symphony-poem The Bells, Op. 35. The paper attempts to “perceive” the implicit programme nature of the cycle; associations with Alexander S. Pushkin’ oeuvre emerge, as well as a subtle affinity with I. Bunin’s lyrical poetry and A Nobleman’s Nest by I. Turgenev. The Prelude in B minor is a pinnacle of the cycle’s dramatic accumulation, appearing as a glimpse into the future through the burden of the happened events; the kinship with Rachmaninoff’s emigrant works is stunning. The “boundless snow desert” as an allegorical image of the native land on the eve of disaster is depicted in the Prelude in G sharp minor, reminding of the snowstorm in wilderness from Pushkin’s Captain’s Daughter — serving as the closest association, since in the beginning of the 1910s Russia yet again faced the fire of mutiny, the devastating revolutionary abyss of wrath and cruelty. The combination of intrinsic musical-theoretical observations with the historical-cultural survey allows the author to come near the comprehensive picture. The methodological basis of the paper relies on the complex method: the author has applied hermeneutical, comparative, and historical approaches.
22
Campbell, Stuart. "The Russian Paris of Sergei Rachmaninoff". Muzikologija, n. 30 (2021): 75–104. http://dx.doi.org/10.2298/muz2130075c.
Testo completoAbstract (sommario):
This article addresses Rachmaninoff?s activities in Paris, both a musical capital of the world and unrivalled cultural centre of the Russian emigration until 1940. It looks at the small number of concerts performed by the pianist there and places them in the context of the French press. It attempts to understand his ambiguous personal relationship to the city, the activity of his publishing company ?TAIR?, and finally assesses the extent of the composer?s charitable endeavours for the Russian community. The article concludes Rachmaninoff was of monumental significance for the ?Russian? Paris.
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Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff". ICONI, n. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.
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“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.
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Peng, Cynthia S. "Idée Fixe: Rachmaninoff and Death Anxiety". American Journal of Psychiatry Residents' Journal 16, n. 4 (11 giugno 2021): 13–14. http://dx.doi.org/10.1176/appi.ajp-rj.2021.160407.
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Merkulov, Alexander M. "RACHMANINOFF IN CONVERSATION WITH HARRIETTE BROWER". Arts education and science 4, n. 37 (2023): 94–106. http://dx.doi.org/10.36871/hon.202304094.
Testo completoAbstract (sommario):
The article presents for the first time a full Russian translation of Rachmaninoff’s conversation with H. Brower, published in 1926 in New York. The text of the interview is equipped with detailed scientific-historical and methodological comments, in which various problems raised in the conversation are considered. Among them are the biographical details of the composer’s creative life, his performing style and human character, his manner of behavior on stage and in everyday life, the practice of everyday home exercises, issues of technical skill development, his attitude to modern music and its individual representatives, the peculiarities of American music students, pros and cons of the American music education system, a comparison of the music education system of Russia in the late XIXth – early decades of the XXth century with the teaching practice adopted in the USA in the 1920s, the priorities for the development of American musical culture and its possible prospects, attention to primary education as a necessary foundation for the rapid creative growth of a young musician, the levels of work of teachers in the United States, etc.
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Gorobets, Svetlana V. "The Role of A.I. Ziloti in the Formation of the Creative Personality of S.V. Rachmaninoff-Pianist". Общество: философия, история, культура, n. 9 (20 settembre 2023): 162–66. http://dx.doi.org/10.24158/fik.2023.9.23.
Testo completoAbstract (sommario):
The article distinguishes and describes important moments of S.V. Rachmaninoff’s creative biography. It is emphasized that the key role in the process of his personal and professional development as a musician and composer was played by his cousin A.I. Ziloti – pianist, musical and public figure, organizer of the legendary entreprise “A. Ziloti’s Concerts”, comparable in its national significance to European events of the XIX – early XX centuries, focused on contemporary music and premieres of works by the latest schools of composers. The motives behind A. Ziloti’s actions are analyzed, as well as his role in the culture of St. Petersburg-Petrograd in the early XX century. A brief overview of the entreprise’s concert programs is given. It is stated that Sergei Rachmaninoff’s works – “Second Piano Concerto” and “Second Suite for Two Pianos” – were announced in the program of each concert season. Conclusion dwells upon the fact that A. Ziloti and S. Rachmaninoff's names are iconic in the history of musical art, mutually inseparable, as are the destinies of their bearers.
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Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin". Studia Universitatis Babeş-Bolyai Musica 66, n. 2 (dicembre 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.
Testo completoAbstract (sommario):
"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "
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Bathurst, Ralph. "Artists recreating our world with Rachmaninoff as a guide and partner". Arts & Communication 2, n. 1 (4 marzo 2024): 2126. http://dx.doi.org/10.36922/ac.2126.
Testo completoAbstract (sommario):
This paper proposes that artists be at the forefront of community recovery in our post-COVID-19 world. To achieve this proposition, it delves into the early professional life of the renowned Russian composer and pianist Sergei Rachmaninoff (1873 – 1943), notably focusing on his sense of failure after the premiere of his first symphony and his subsequent recovery. It examines the importance of mentors who support professionals through early career mistakes, the significance of learning the limits of risk-taking, and the value of failure as guidance for development. Rachmaninoff’s contribution to humanity is profound, as evidenced by the enduring performance of his music in concert halls around the globe, making him an appropriate guide and partner in fulfilling the recovery agenda.
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Топилин, Д. И. "Sergei Rachmaninoff — Harmony of West and East". OPERA MUSICOLOGICA, n. 2021 (15 settembre 2021): 74–94. http://dx.doi.org/10.26156/om.2021.13.3.005.
Testo completoAbstract (sommario):
Статья посвящена одной из «вечных тем» отечественного музыкознания. Вновь предпринимается попытка соотнести художественные идеалы Москвы и Санкт-Петербурга в творчестве С. В. Рахманинова на примере крупных симфонических произведений композитора. Исследовательское внимание сфокусировано на четырех элементах музыкального языка Рахманинова, объединенных в индивидуальном творческом косме. Первая симфония предстает в качестве знакового сочинения с предчувствием фатальных событий русской истории. Подчеркивается связь между концепцией Первой симфонии и художественно-стилистическим решением поздних симфонических произведений. Симфонические танцы трактуются как квинтэссенция творчества Рахманинова со всеобъемлющим доминированием трагического начала —условное «повторение» драматургии Первой симфонии. Article is dedicated to one of the “eternal themes” of Russian musicology. An attempt is made again to correlate the artistic ideals of Moscow and St. Petersburg in the works of Sergei Rachmaninoff on the example of major symphonic works. Research is focused on four elements of Rachmaninoff ’s musical language, united in the individual creative cosm14. The First Symphony appears as a landmark work with a presentiment of fatal events in the Russian history and the further evolution of composer’s thinking. The connection between the concept of the First Symphony and the artistic and stylistic solution of the later symphonic works is emphasized. Symphonic dances are interpreted as the quintessence of Rachmaninoff ’s art due to fusion of previously announced elements with the all-encompassing dominance of the tragic beginning — a conditional “repetition” of the drama of the First Symphony.
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Arehart-Treichel, Joan. "Rachmaninoff on the Bill For Psychiatrist-Pianist". Psychiatric News 49, n. 4 (21 febbraio 2014): 1. http://dx.doi.org/10.1176/appi.pn.2014.2b6.
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Petrov, Aleksei K. "“ALL-NIGHT VIGIL” BY S. V. RACHMANINOFF: PERFORMANCE ASPECTS OF “HISTORICAL RECONSTRUCTION”". Arts education and science 3, n. 36 (2023): 105–12. http://dx.doi.org/10.36871/hon.202303105.
Testo completoAbstract (sommario):
The article is devoted to the “All-Night Vigil” by S. V. Rachmaninoff as one of the unsurpassed masterpieces of Russian sacred music from the standpoint of modern choral performance. The research attention is focused on the topic of “historical reconstruction” of the premiere performances of the work in 150 by the Moscow Synodal Сhoir under the direction of the great regent Nikolai Mikhailovich Danilin, which is relevant in the anniversary season (1915 years since the composer's birth). The author considers the specific vocal organization of one of the best pre-revolutionary Russian choirs, which consisted exclusively of boys and men, and reveals the relationship between the performing skills of the group and the superbly developed methodology of music education of young singers. On the example of concert performances by contemporary choirs, significant differences between the “historical” and modern approaches to the performance of Rachmaninoff's “All-Night Vigil” are indicated. The reasons for the socio-cultural, organizational, technical and purely artistic problems that arise for today's choirs and their leaders aiming at the “historical reconstruction” of this work, are analyzed in detail. Along with the rationale for the need to study deeply the principles of performance characteristic of the Synodal Сhoir of the period 1910–1917, possible ways of returning to the best singing traditions of the pre-revolutionary period are outlined.
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Darmaros, Marina. "É hora! Dois poemas de Semion Nadson em tradução". Cadernos de Literatura em Tradução, n. 23 (12 luglio 2021): 57–66. http://dx.doi.org/10.11606/issn.2359-5388.i23p57-66.
Testo completoAbstract (sommario):
O poeta da Rússia Imperial Semion Nadson morreu com apenas 24 anos de idade e tem, como escreve Paulo Bezerra, um “legado contraditório”. Inspirador de composições de Rachmaninoff e amado por antagonistas como Lênin e Búnin, ele foi massacrado por Mandelstam (que, no entanto, nunca deixava de relê-lo), Otto Maria Carpeaux e Tchukóvski.
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Li, G. "G. Kogan’s Ideas about S. Rachmaninoff as a Pianist". Университетский научный журнал, n. 51 (2019): 213–16. http://dx.doi.org/10.25807/pbh.22225064.2019.51.213.216.
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Валькова, В. Б. "“Sergei Rachmaninoff and Ballet: Search for New Meanings of Dance.”". Музыкальная академия, n. 4(784) (21 dicembre 2023): 110–23. http://dx.doi.org/10.34690/348.
Testo completoAbstract (sommario):
Являясь важнейшим истоком музыкального творчества, в начале ХХ века танец обрел новые формы бытования в музыке и новые смыслы: выдвинулся на роль драматической кульминации (например, в ранних операх Р. Штрауса), стал выражением трагической концепции (заключительная пляска «Весны священной» Стравинского). Эта тенденция отразилась и в творческой деятельности Рахманинова, найдя свое завершение в последнем крупном произведении композитора «Симфонические танцы». Значимый для Рахманинова сюжет, изначально связанный с танцем, — неосуществленный балет «Скифы» (1915), задуманный в сотрудничестве с балетмейстерами А. А. Горским и К. Я. Голейзовским. История замысла рассматривается по архивным документам — рукописям «экзотической поэмы» Голейзовского и балетного либретто Горского. Содержащиеся в них пометки свидетельствуют об участии Рахманинова в работе над балетом, хотя никаких фрагментов музыки к нему не сохранилось. В данной статье выдвигаются предположения о причинах этого, обсуждается гипотеза об отражении образов и идей балета «Скифы» в «Симфонических танцах». At the beginning of the 20th century dance, being one of the sources of musical art, has acquired new forms of existence in music and new meanings: moved to the role of a dramatic climax (for example, in the early operas by Richard Strauss), expressed a tragic concept (the final dance of Stravinsky’s “The Rite of Spring”). This trend was also reflected in Rachmaninoff’s works, finding climax in the composer’s last major masterpiece, “Symphonic Dances.” The significant topic originally associated with dance by Rachmaninoff is the unrealized ballet “Scythians” (1915), conceived in collaboration with choreographers A. A. Gorsky and K. Ya. Goleyzovsky. The history of this idea is discussed according to archival documents—manuscripts of Goleyzovsky’s “Exotic Poem” and Gorsky’s ballet libretto. The notes and remarks contained in them testify to the participation of Rachmaninoff in work on the ballet, although no musical fragments for it have survived. The reasons for this are speculated. The hypothesis about the reflection of the images and ideas of the ballet “Scythians” in the “Symphonic Dances” by Rachmaninoff is also discussed.
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Garcia, Emanuel E. "Rachmaninoff and Scriabin: Creativity and Suffering in Talent and Genius". Psychoanalytic Review 91, n. 3 (giugno 2004): 423–42. http://dx.doi.org/10.1521/prev.91.3.423.38305.
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Kaz'mina, Elena Olegovna. "Opera “Aleko” by S. V. Rachmaninoff: The local history aspect". Manuskript, n. 2 (gennaio 2023): 116–20. http://dx.doi.org/10.30853/mns20230028.
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Levashova, Tat'yana Aleksandrovna. "The role of Russian pianists in the formation of accompaniment art". PHILHARMONICA. International Music Journal, n. 5 (maggio 2021): 34–40. http://dx.doi.org/10.7256/2453-613x.2021.5.35666.
Testo completoAbstract (sommario):
The Russian tradition of piano performance has been winning international recognition for several centuries. The names of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, A.B. Goldenweiser and others, are inscribed in the history of the piano music and pedagogics. At the same time, such a sphere as accompaniment remains unheralded. The author of the research attempts to estimate the role of the above mentioned pianists in the formation of accompaniment art. Based on the analysis of the experience of performance and pedagogical work of the pianists, the author reveals their importance for the development of the Russian accompaniment tradition. This topic hasn’t been critically considered and analyzed. However, the history of piano music is rich in examples when concert pianists take on the role of accompanists. Their contribution to the practice of ensemble performance has influenced the development of accompaniment art. The work of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, and A.B. Goldenweiser has influenced various aspects of accompaniment art: the extension of functions of an accompanist; the importance of the role of an accompanist in the interpretation of music pieces; the extension of the pedagogical function of an accompanist in the ensemble; the formation of a methodological background based on the accompaniment experience.
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Terekhina, Vera N., e Natalia I. Shubnikova-Guseva (Guseva). "“The sister of music is poetry”: Poems of Russian poets in the romances of S.V. Rachmaninov". Philological Sciences. Scientific Essays of Higher Education, n. 6 (novembre 2023): 116–24. http://dx.doi.org/10.20339/phs.6-23.116.
Testo completoAbstract (sommario):
The article examines six of S.V. Rachmaninov’s 83 romances based on poems by famous poets of the Silver Age: “Dream” by F. Sologub, “The Pied Piper” by V. Bryusov, “To Her” A. Bely, “Au” by K. Balmont, “At Night in my Garden” by A. Isaakian (translated by A. Blok), “Daisies” by Igor Severyanin. These romances, written in the summer of 1916 in Ivanovka, turned out to be Rachmaninov’s last appeal to the poetic word. Attention is paid to the history of their creation and performance associated with the writer M.S. Shaginyan and the wonderful singer N.P. Koshits. Genre specifics, peculiarities of the fusion of poetry, music and vocal art are analyzed. It is shown that Russian lyrics inspired the musician to create new techniques of musical imagery, enriching the sound palette. In the musical drawing of Rachmaninov’s romances, along with a smooth rhythmic dominant, noticeable pauses, figures of “birdsong”, watercolor and graphic sketches of flowers appeared. Special attention is paid to the little-known history of Rachmaninov’s long-term communication with the author of the words to the romance “Daisies”, which is recognized as the best in the work under consideration. For this purpose, the letters of the Northerner to Rachmaninoff are given, as well as the text and circumstances of the creation of the poem “They all talk about one thing …” (1927) with a dedication to “Sergei Vasilyevich Rachmaninoff”.
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Cannata, David Butler, e Maria Biesold. "Sergej Rachmaninoff, 1873-1943, zwischen Moskau und New York: Eine Kunstlerbiographie". Notes 50, n. 2 (dicembre 1993): 591. http://dx.doi.org/10.2307/898471.
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Купец, Л. А. "TWO BIOGRAPHIES OF SERGEI RACHMANINOV IN THE SERIES "LIVES OF REMARKABLE PEOPLE": RECYCLING OR REBRANDING?" Music Journal of Northern Europe, n. 3(35) (29 novembre 2023): 1–12. http://dx.doi.org/10.61908/2413-0486.2023.3.1-12.
Testo completoAbstract (sommario):
В статье анализируется образ Сергея Рахманинова, создаваемый авторами биографии композитора в популярной серии «Жизнь замечательных людей». В качестве материала используются две биографии Н. Д. Бажанова и С. Р. Федякина, вышедшие с перерывом в полвека: первая – в эпоху «оттепели», вторая – в прошлом десятилетии. Анализ этих двух нарративов позволяет сделать выводы о том, что, несмотря на кардинально изменившиеся историко-культурные условия и возможности, тем не менее, Рахманинов предстаёт в последней версии не столько в рамках культурного ресайклинга, сколько ребрендинга. Основной а́брис образа остался прежним: страдающий романтический юноша, которого судьба забросила на чужбину, в результате чего он уже не мог творить и мечтал о Родине до конца своих дней. The article analyzes the image of Sergei Rachmaninoff, created by the authors of the composer's biography in the popular series of "The Lives of Remarkable People". Two biographies written by N. D. Bazhanov and S. R. Fedyakin are used as material, which was published half a century apart: the first biography – in the era of the "thaw", the second one – in the last decade. The analysis of these two narratives allows us to conclude that, despite the radically changed historical and cultural conditions and opportunities, Rachmaninoff, nevertheless, appears in the latter version not so much as a part of cultural recycling, but as a rebranding. The basic outline of the image remains the same: a suffering romantic young man who was thrown by fate into a foreign land, as a result of which he could no longer create and dreamed of his homeland for the rest of his life.
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Ли, И. "Approaches to Using the Works of S.V. Rachmaninoff in Teaching Chinese Pianists". Higher education today, n. 6 (25 dicembre 2023): 154–59. http://dx.doi.org/10.18137/rnu.het.23.06.p.154.
Testo completoAbstract (sommario):
Обоснована актуальность проблемы подготовки пианистов в Китае, способных предлагать объективные исполнительские трактовки произведений С.В. Рахманинова. Приведены результаты анализа исследований, посвященных творчеству композитора. Определена цель исследования – разносторонне изучить личность и творчество С.В. Рахманинова, его фортепианное наследие в контексте становления и развития китайской фортепианной педагогики. Выделены основные направления и задачи исследования. Результаты проводимого исследования позволят подготовить квалифицированных, творческих исполнителей, которые смогут оказать влияние на китайскую молодежь – студентов музыкальных учебных заведений и многомиллионную слушательскую аудиторию. The relevance of the problem of training pianists in China who are capable of offering objective performance interpretations of S.V.’s works is substantiated. Rachmaninov. The results of an analysis of studies devoted to the composer’s work are presented. The purpose of the study was determined – to comprehensively study the personality and creativity of S.V. Rachmaninov, his piano heritage in the context of the formation and development of Chinese piano pedagogy. The main directions and objectives of the research are highlighted. The results of the ongoing research will make it possible to prepare qualified, creative performers who will be able to influence Chinese youth – music students and a multimillion-dollar listening audience.
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Probstein, Ian. "European and Russian Literature and the Poets of the Second American Avant-Guard / The New York School". Literature of the Americas, n. 12 (2022): 51–65. http://dx.doi.org/10.22455/2541-7894-2022-12-51-65.
Testo completoAbstract (sommario):
The article explores the influence of European and Russian Literature on the poets of the Second American Avant-Gard and The New York School, as was coined by John Myers, the artistic director of the Tibor de Nagy Gallery, as David Lehman stated in The Last Avant- Garde. The Making of New York School of Poets [Lehman 1999: 24–25]. The paper mainly focuses on the work of the first generation of the New York School: John Ashbery (1927–2017), Frank O’Hara (1926–1966), Kenneth Koch (1925–2002), and James Schuyler (1923–1991), who edited the first and the last issues of the literary magazine Locus Solus, published by the “quartet” of the aforementioned poets. Their poetry was marked by unexpected comparisons and juxtapositions, collages and pseudotranslations. At first, they drew heavily on Apollinaire, cubists, surrealists, but each of the original four developed his unique style. Alongside Apollinaire and French Surrealists, the works of Mayakovsky and Pasternak were central to the New York School poets. For example, the very title of Ashbery’s book Some Trees was an allusion to Boris Pasternak’s 1922 manifesto “Some Statements,” which was (mis)translated into English as “Some Trees.” In Frank O’Hara’s poems there are allusions not only to his beloved Mayakovsky but, most importantly, to Rachmaninoff and other composers. O’Hara developed syncretic and synthetic poetry, combining sound, color, music, and painting, as in his poem “On Rachmaninoff’s Birthday.” In Kenneth Koch’s poems there are allusions to Victor Shklovsky’s Third Factory and in Koch’s later long poem Possible World (2002), we can trace both Mayakovsky’s and Khlebnikov’s influence.
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Амельченков Серафим / Владимир Леонидович, Амельченков Серафим /. Владимир Леонидович. "Spiritual Music by S. V. Rachmaninov". Theological Herald, n. 4(51) (15 dicembre 2023): 314–32. http://dx.doi.org/10.31802/gb.2023.51.4.016.
Testo completoAbstract (sommario):
Одним из ярких символов русской культуры является личность С. В. Рахманинова, со дня рождения которого в 2023 г. исполнилось уже 150 лет, при этом весь мир по-прежнему помнит это великое имя. Целью настоящей статьи является раскрытие новаторских особенностей творческого наследия С. В. Рахманинова с опорой на истоки и традиции русской духовно-музыкальной культуры. Использование биографического, исторического методов, а также применение анализа, синтеза, аналогии позволило показать особенности и генезис духовно-музыкальной культуры и определить роль С. В. Рахманинова в развитии духовной музыки. Прослеживается непосредственное влияние той среды, в которой формировалась личность выдающегося композитора, что повлияло на непрестанное памятование имени Бога в его произведениях. Автором выявлен личный вклад С. В. Рахманинова в духовное музыкальное наследие. Подчёркивается, что его творчество представляет собой некий синтез стилей различных эпох, при этом уже в первом духовном сочинении сформировались отличительные черты авторского стиля. Это послужило основой для дальнейшего обогащения русской духовной музыки посредством создания «Литургии святителя Иоанна Златоуста» и «Всенощного бдения» — произведений, являющихся вершиной творчества великого композитора. One of the brightest symbols of Russian culture is the personality of S. V. Rachmaninov, whose birth in 2023 is already 150 years old, while the whole world still remembers this great name. The purpose of this article is to reveal the innovative features of the creative heritage of S. V. Rachmaninov based on the origins and traditions of Russian spiritual and musical culture. The use of biographical, historical methods, as well as the use of analysis, synthesis, analogy, allowed to show the features and genesis of spiritual and musical culture and determine the role of S. V. Rachmaninov in the development of spiritual music. The direct influence of the environment in which the personality of the outstanding composer was formed is traced, which influenced the incessant remembrance of the name of God in his works. The author revealed the personal contribution of S. V. Rachmaninoff in the spiritual musical heritage. It is emphasized that his work is a kind of synthesis of styles of different eras, while already in the first spiritual work the distinctive features of the author’s style were formed. This served as the basis for the further enrichment of Russian spiritual music through the creation of «The Liturgy of St. John Chrysostom» and «The All-Night Vigil» — works that are the pinnacle of the great composer’s work.
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Frolova-Walker, Marina. "Serge Rachmaninoff, Fugue in D minor (1891) (London: Boosey & Hawkes, 2004). £17.50; Suite in D minor (1891) (London: Boosey & Hawkes, 2004). £24.50 (Complete Works of Sergei Rachmaninoff)". Nineteenth-Century Music Review 2, n. 2 (novembre 2005): 240–42. http://dx.doi.org/10.1017/s1479409800002482.
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Коряпина, Т. П. "Transformation of the Finale in Three Editions of the Fourth Piano Concerto by S. V. Rachmaninoff: A New Look at the Form". Журнал Общества теории музыки, n. 2(42) (8 novembre 2023): 36–66. http://dx.doi.org/10.26176/otmroo.2023.42.2.004.
Testo completoAbstract (sommario):
Четвертый фортепианный концерт Рахманинова стоит на рубеже стилей и периодов жизни композитора, являясь знаковым сочинением в момент перехода от зрелого стиля к позднему. Исследователи все чаще задаются вопросами, как именно Рахманинов работал над своим сочинением, по каким причинам и что именно он менял в ходе работы. Автор статьи пытается ответить на эти вопросы методом исследования и сравнения различных редакций. Кроме того, в статье впервые раскрывается вопрос трактовки формы финала Четвертого концерта, который впервые поставлен в музыковедении. С точки зрения структуры можно сказать, что вследствие редактирования в финале Четвертого фортепианного концерта произошла следующая трансформация: вместо репризы (повторение темы вступления и побочной партии) звучит кода, в которой тема вступления изменена, а вместо побочной партии появляется новый материал. В целом отметим отличия поздней редакции Четвертого фортепианного концерта, которая стала более динамичной, собранной по форме и структуре. A landmark of transition from the mature style to the late, Rachmaninoff’s Fourth Piano Concerto thus indicates the turn of periods of the composer’s life. The way Rachmaninoff worked on the composition, what exactly and for which reasons he altered in the process has increasingly become the focus of research. The article’s author attempts to answer these questions by studying and comparing various revisions. Besides this, the article for the first time addresses the question of interpreting the form of the Fourth Concerto finale. From the point of view of structure, the editing of the finale of the Concerto resulted in the following transformation: instead of a recapitulation (repeating the introduction and the second theme), a coda sounds, where the theme of the introduction is changed, and the second theme is substituted with new musical matter. To summarize, the author notes the differences in the later version of the Fourth Piano Concerto, distinguished by more dynamic, concise form and structure.
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Presnyakova, Inga A. "Sergei Rachmaninoff. The Prelude in C-sharp minor Opus 3 No. 2: Jazz Band Versions in the Swing Era". Problemy muzykal'noi nauki / Music Scholarship, n. 2 (luglio 2023): 79–89. http://dx.doi.org/10.56620/2782-3598.2023.2.079-089.
Testo completoAbstract (sommario):
Arrangements of classical music in popular genres comprises a discernible stratum of the artistic heritage of the swing era. The practice of jazzing the classics or swinging the classics affected the music of dozens of composers, including Sergei Rachmaninoff. The most highly sought primary text for instrumental transcriptions turned out to be his Prelude inC-sharp Minor. Its jazz band version (from the perspective of the correspondence to jazzing as a stylistic phenomenon and in regards to the techniques of transcription technique) have never formed the subject matter of special attention up to the present. In the article the author presents for the first time the results of examinations of jazzing-transformations of the piece. Each one of the “renewed” versions of the Prelude is endowed with common features for stylistic reorientation (the replacement of the high genres with applied ones, the “transfer” of the academic type of rhythm into swing rhythm, transformations of texture and timbre, etc.), as well as individually transubstantiated techniques of transformation of the original (first of all, the structural-compositional plane). The greatest amount of arrangements of the Prelude is designed for big bands, the sound of which may be called the sound brand of the swing era. Especially representative in this regard are the versions which sounded in performance by the orchestras of Duke Ellington (1938), Glen Gray (1939) and Jack Teagarden (1941). The arrangement from the repertoire of Jack Hilton’s orchestra (1930) stands apart among the band versions. The structure of the original is preserved precisely in it, which makes it possible to call this version a sound transcription of this piano piece. the tempo-rhythm of this example is discerned by its agogics and its absence of swing. Most specific is the sound of the arrangement oriented on Paul Whiteman’s sympho-jazz, following the example of which Hilton incorporates string instruments into his orchestra. The examined band versions of Rachmaninoff’s Preludes demonstrate both the typological correspondence to the phenomenon of jazzing the classics and the individuality of the transcription-based transformations.
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Antipina, E. S., e S. A. Prokhorenkova. "I.A. Bunin and S.V Rachmaninoff: Modeling the Creative Linguistic Personality and Its Worldview". Prepodavatel XXI vek, n. 1-2 (2022): 396–410. http://dx.doi.org/10.31862/2073-9613-2022-1-396-410.
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Sukhorukova, I. G. "Pedagogical potential of Variations on the theme of Chopin op.22 S.V. Rachmaninoff". Искусство и образование, n. 5 (2021): 114–19. http://dx.doi.org/10.51631/2072-0432_2021_133_5_114.
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Blair, David M., Andrew M. Freed, Paul K. Byrne, Christian Klimczak, Louise M. Prockter, Carolyn M. Ernst, Sean C. Solomon, H. Jay Melosh e Maria T. Zuber. "The origin of graben and ridges in Rachmaninoff, Raditladi, and Mozart basins, Mercury". Journal of Geophysical Research: Planets 118, n. 1 (gennaio 2013): 47–58. http://dx.doi.org/10.1029/2012je004198.
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Булатова, О. Р. "The Year of Rachmaninov: Promising Ideas of Musical Enlightenment in Shaping the Culture of the City". Nasledie Vekov, n. 3(35) (30 settembre 2023): 15–26. http://dx.doi.org/10.36343/sb.2023.35.3.001.
Testo completoAbstract (sommario):
Целью исследования является выявление имеющихся ресурсов для проведения в Краснодаре мероприятий, приуроченных к дню рождения С. В. Рахманинова и юбилеям других выдающихся российских композиторов. Автор обращается к культурологическим и музыковедческим исследованиям, а также к воспоминаниям о жизни и деятельности С. В. Рахманинова.Раскрыты особенности творческого метода композитора, обращается особое внимание на концертный тур 1913 г., в ходе которого он выступил в Екатеринодаре. Автор считает, что в настоящее время программа этого выступления достойна увековечения в качестве мемориального концерта, предназначенного для неоднократного исполнения. Выдвигается инициатива создать систему музыкальных проектов, приуроченных к юбилеям выдающихся российских музыкальных классиков и служащих для целенаправленной подготовки молодых талантов на уровне исполнительских школ. Определены ресурсы для создания этих проектов и возможные творческие ориентиры, достижению которых послужит их реализация. The aim of the study is to identify resources for holding events in Krasnodar (Krasnodar Territory, Russian Federation) dedicated to the anniversary of Sergei Rachmaninov (Rachmaninoff) and other outstanding figures of Russian musical culture. The author turns to cultural and musicological research, as well as to memories of Rachmaninov’s life and work. The study employed systemic-historical and diachronic methods, as well as a number of methods used in musicological research. The author reveals the distinctive features of Rachmaninov’s creative method and the characteristics of his compositional style and notes the success of the composer’s performing career. She pays special attention to the concert tour of 1913, during which the pianist gave a concert in Yekaterinodar (Krasnodar until 1920). The author describes the circumstances surrounding the concert and its place among other important events for the history of the city that took place at that time, analyzes the program of Rachmaninov’s concert in Yekaterinodar and evaluates the works performed at the concert in terms of pianistic complexity, circumstances of creation, significance for the composer’s work, musicological characteristics. The author believes that at present this program is worthy of perpetuation as a memorial concert intended for repeated performance. She emphasizes that most of the concert pieces can be performed by students; this idea is confirmed by the successful experience of holding the Rachmaninoff Days music festival dedicated to the composer’s 150th anniversary (2023) in Krasnodar. The author analyzes the festival program in detail, including the variety of works performed. In anticipation of the upcoming anniversaries of Modest Mussorgsky, Nikolai Rimsky-Korsakov and Mikhail Glinka, the author proposes to create a system of musical projects dedicated to them that will serve the targeted training at the level of performing schools. The projects can be implemented since the following resources are available: (1) the ability of the Russian state to support gifted children; (2) the activity of young Krasnodar performers who are able to master complex musical works; (3) the actualization of the key event, which is the source of transformations in cultural life carried out within the framework of the anniversary project (such an event is Rachmaninov’s concert on November 3, 1913); (4) potential interest in the project from true music lovers. The author identifies the set of goals to be reached by the implementation of the proposed project.