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Relevant bibliographies by topics / Orchestra music (Rachmaninoff, Sergei)

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Academic literature on the topic 'Orchestra music (Rachmaninoff, Sergei)'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Orchestra music (Rachmaninoff, Sergei)"

1

Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 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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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo Philharmonic Orchestra and Choir c. Aril Remmereit. Simax PSC 1241 (2-CD set).

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3

Threlfall, Robert. "Rachmaninoff's 24 Preludes, and some thoughts on editing his piano music." Tempo, no. 180 (March 1992): 15–17. http://dx.doi.org/10.1017/s0040298200025523.

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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.

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Demchenko, Alexander I. "The Musical Oeuvres of Aram Khachaturian." ICONI, no. 3 (2020): 122–36. http://dx.doi.org/10.33779/2658-4824.2020.3.122-136.

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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky and Dmitri Shostakovich. This series is continued with a lecture about Aram Khachaturian’s music. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (the trajectory of the artistic path, “The Feast of Music”) examines the foundational principles of the composer’s bright individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the mid-20th century. During the exposition of the lecture fragments of his musical compositions will be offered for analysis, in their sum giving a perspective of the most substantial aspects of Khachaturian’s musical legacy.

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Demchenko, Alexander I. "The Musical Oeuvres of Rodion Shchedrin." ICONI, no. 1 (2021): 148–59. http://dx.doi.org/10.33779/2658-4824.2021.1.148-159.

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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.

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Makarova, Antonina L., and Lyubov A. Serebryakova. "“Francesca da Rimini” by Sergei Rachmaninoff in its Connections with the Pyotr Tchaikovsky’s Opera Works." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2019): 17–26. http://dx.doi.org/10.17674/1997-0854.2019.4.017-026.

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7

Tomoff, Kiril. "Paradoksy sovetskoi muzykalnoi kultury: 30-e gody, and: Sergei Rachmaninoff: A Lifetime in Music (review)." Kritika: Explorations in Russian and Eurasian History 4, no. 2 (2003): 466–80. http://dx.doi.org/10.1353/kri.2003.0030.

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Sheludyakova, Oksana E. "Concerning the Issue of Interaction between the Melodic Element and Harmony in Sergei Rachmaninoff”s Works." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2019): 158–66. http://dx.doi.org/10.17674/1997-0854.2019.4.158-166.

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9

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, no. 2 (2005): 240–42. http://dx.doi.org/10.1017/s1479409800002482.

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10

Demchenko, Alexander I. "The Musical Oeuvres of Georgy Sviridov." ICONI, no. 4 (2020): 153–70. http://dx.doi.org/10.33779/2658-4824.2020.4.153-170.

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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich and Aram Khachaturian. This series is continued with a lecture about the music of Georgy Sviridov. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (The Musical Oeuvres of Sviridov in the Mid-20th Century, The Musical Oeuvres of Sviridov in the 1960s and 1970s, the Late Oeuvres of Sviridov) examines the foundational principles of the composer’s vivid individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the middle and second half of the 20th century. During the exposition of the lecture fragments of his musical compositions are presented for analysis in performances recommended by the author, in their sum, providing a perspective of the most substantial aspects of Sviridov’s musical legacy.

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Dissertations / Theses on the topic "Orchestra music (Rachmaninoff, Sergei)"

1

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.

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Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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.

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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.

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5

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/.

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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.

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6

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

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

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7

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/.

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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.

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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.<br><p>The exam concert is archived for copyright reasons until 2023.</p>

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Lo, Jung-Hsiu, and 羅容秀. "The Quotation of〈Dies Irae〉in the Music of Sergei Rachmaninoff." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ryes8g.

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"Piano Variations by Liszt, Lutoslawski, Brahms, and Rachmaninoff on a Theme by Paganini." Thesis, 2012. http://hdl.handle.net/1911/70520.

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Theme and Variations is arguably one of the oldest musical forms in music history. Composers have used certain themes repeatedly as thematic sources for variations. Among them, Paganini's Caprice No. 24 in A minor is certainly the best known, since the theme has inspired many composers for variations of their own. The purpose of this study is to analyze different sets of Variations on Paganini's theme by Franz Liszt, Witold Lutoslawbski, Johannes Brahms, and Sergei Rachmaninoff, in order to examine, identify, and trace how far an original idea can be stretched by using different variations techniques and their applications. Liszt transcribed Paganini's 24th Caprice for the piano, adding a multi-layered sound to the original Caprice. His treatment of the Paganini theme is the most literal. Lutoslawski's Paganini Variations is written for duo piano. This piece builds on Liszt's transcription technique: it stays close to the original Paganini Caprice, but at the same time overlays many 20 th century compositional devices such as atonality and complex rhythmic devices. Lutoslawski carries Liszt one step further away from Paganini's original theme. In his Variations on a Theme of Paganini, op. 35, Brahms keeps the clear structure and strong harmonic progression of the original theme, but carries his invention further away from the source than Liszt and Lutoslawski. His compositional technique includes adding new harmonies within the harmonic structure, marking different tempo indications and meter changes, playing with a variety of rhythm and motives, as well as accentuating the harmonic progression and the bass progression. Rachmaninoff's Rhapsody on a Theme of Paganini, Op. 43 is the most personal. He places greater emphasis on the melodic and motivic elements of the theme, and nearly exhausts every option of transformation. Rachmaninoff's extensive development represents the furthest point away from Paganini's source.

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Books on the topic "Orchestra music (Rachmaninoff, Sergei)"

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1910-, Leyda Jay, and Satina Sophia 1879-1975, eds. Sergei Rachmaninoff: A lifetime in music. Indiana University Press, 2001.

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Leyda, Jay, Sergei Bertensson, and Sophia Satina. Sergei Rachmaninoff: A Lifetime in Music (Russian Music Studies). Indiana University Press, 2002.

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Cunningham, Robert E. Sergei Rachmaninoff: A Bio-Bibliography (Bio-Bibliographies in Music). Greenwood Press, 2000.

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4

Brown, Alan. Sergei Rachmaninoff - Sheet Music for Piano: From Easy to Advanced; over 25 Masterpieces. Flame Tree Publishing, 2015.

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(Composer), Sergei Rachmaninoff, and Joseph Banowetz (Editor), eds. Rachmaninoff 10 Selected Piano Works Book & CD (Alfred CD Edition). Alfred, 2007.

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Dutkanicz, David. First Book of Rachmaninoff: For the Beginning Pianist with Downloadable MP3s. Dover Publications, Incorporated, 2018.

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Book chapters on the topic "Orchestra music (Rachmaninoff, Sergei)"

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

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"SERGEI RACHMANINOFF." In The Classical Music Lover's Companion to Orchestral Music. Yale University Press, 2018. http://dx.doi.org/10.2307/j.ctv9b2wqr.47.

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Conference papers on the topic "Orchestra music (Rachmaninoff, Sergei)"

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

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