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Relevant bibliographies by topics / Rachmaninoff, Sergei, Music Piano

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Academic literature on the topic 'Rachmaninoff, Sergei, Music Piano'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Rachmaninoff, Sergei, Music Piano"

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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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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, no. 1 (2021): 68–79. http://dx.doi.org/10.36871/hon.202101008.

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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 an

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Skurko, Evgeniya R. "Sergei Rachmaninoff’s Variations for Piano: Concerning the Question of Interpreting the Genre." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2016): 50–56. http://dx.doi.org/10.17674/1997-0854.2016.2.050-056.

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Merzlov, Arseny N. "Variants of the Musical Text of Sergei Rachmaninoff’s Sonata No. 1 for Piano." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2019): 62–70. http://dx.doi.org/10.17674/1997-0854.2019.3.062-070.

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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 performanc

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Merzlov, Arseniy N. "Sergei Rachmaninoff and Mikhail Vrubel: Creative Parallels." ICONI, no. 1 (2019): 141–46. http://dx.doi.org/10.33779/2658-4824.2019.1.141-146.

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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 Son

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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 can

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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 turn

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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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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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Dissertations / Theses on the topic "Rachmaninoff, Sergei, Music Piano"

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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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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

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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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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

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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 wa

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

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

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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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.

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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: Varfö

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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.

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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 opportu

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Kozlova, Yulia V. "Sources of inspiration in selected piano works by Sergei Slonimsky." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117574266.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xi, 103 p.; also includes graphics. Includes bibliographical references (p. 100-103). Available online via OhioLINK's ETD Center

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Books on the topic "Rachmaninoff, Sergei, Music Piano"

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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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Rachmaninoff, Sergei. Oxana Yablonskaya plays Rachmaninoff. Connoisseur Society, 1993.

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The piano works of Serge Prokofiev. Scarecrow Press, 1994.

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Brower, Harriette. Piano mastery: Talks with Paderewski, Hofmann, Bauer, Godowsky, Grainger, Rachmaninoff, and others : the Harriette Brower interviews 1915-1926 / edited with an introduction by Jeffrey Johnson. Dover Publications, 2003.

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Berman, Boris. Prokofiev's piano sonatas: A guide for the listener and the performer. Yale University Press, 2008.

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Berman, Boris. Prokofiev's piano sonatas: A guide for the listener and the performer. Yale University Press, 2008.

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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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(Composer), Sergei Rachmaninoff, and Joseph Banowetz (Editor), eds. Sergei Rachmaninoff Piano Works (Performing Artist). Warner Bros. Publications, 2004.

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Rachmaninoff, Sergei. The Great Piano Works of Sergei Rachmaninoff. Alfred Publishing Company, 1997.

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Book chapters on the topic "Rachmaninoff, Sergei, Music Piano"

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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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Kravetz, Nelly, Rita McAllister, and Laura Brown. "Sergei Prokofiev and Levon Atovmian." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0008.

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The name of Levon Atovmian is largely unknown. Yet he was a most important and influential figure in the development of Soviet culture: a musical impresario, company director, bureaucrat, publisher, editor, and arranger, as well as close friend and confidant of many distinguished Soviet composers. His role in Prokofiev’s later life cannot be overestimated. He played a leading, practical part in the composer’s return home in 1936. He promoted the commissioning of some of the most significant of Prokofiev’s later works, and arranged for piano all of his Soviet-period operas, oratorios, and ballets. He and Prokofiev exchanged an extensive professional and increasingly personal correspondence for over twenty years. The chapter is based on unique materials, including his memoirs, given to the author by Atovmian’s daughter. It explores their correspondence, and reveals the circumstances surrounding the discovery of Atovmian’s arrangement of an oratorio based on Prokofiev’s music for Ivan the Terrible.

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Conference papers on the topic "Rachmaninoff, Sergei, Music Piano"

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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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