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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Safonova, Tatiana V., and Zinaida V. Fomina. "Concerning the Question of Interpretation of Sergei Prokofiev’s Piano Compositions." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2018): 171–78. http://dx.doi.org/10.17674/1997-0854.2018.3.171-178.

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13

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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14

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) ex

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15

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

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16

Demchenko, Alexander I. "The Musical Oeuvres of Alfred G. Schnittke." ICONI, no. 2 (2021): 112–30. http://dx.doi.org/10.33779/2658-4824.2021.2.112-130.

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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, Georgy Sviridov, and Rodion Shchedrin. This series is being continued with a lecture about the music of Alfred G. Schnittke. The fi rst part of the lecture (“National ‘Fermentations’ and Early Works”) examines the questions of the genesis of the composer’s personality and the initial stage of his artistic formation with a drastic reorientation from a trad

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17

Dedyurin, Alexei P. "The Particularities of Transcriptions for Accordion of Musical Compositions with Rich Textures (on the Example of “Vocalise” by Sergei Rachmaninoff)." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 88–95. http://dx.doi.org/10.17674/1997-0854.2018.1.088-095.

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18

Cherednychenko, O. V. "Concert genres for piano and orchestra in the works of Sergei Bortkiewicz." Aspects of Historical Musicology 15, no. 15 (2019): 138–57. http://dx.doi.org/10.34064/khnum2-15.07.

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Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”,

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19

Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.

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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand –

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20

Howe, Blake. "Paul Wittgenstein and the Performance Of Disability." Journal of Musicology 27, no. 2 (2010): 135–80. http://dx.doi.org/10.1525/jm.2010.27.2.135.

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Paul Wittgenstein's one-handedness has typically been framed as a physical limitation at odds with an able-bodied ideology driving musical performance. Contemporary reviews, for instance, frame the pianist's disability as a tragedy heroically transcended during the course of virtuosic performance; others suggest that Wittgenstein successfully "passed" as two-handed. A study of Wittgenstein's numerous one-hand arrangements reveals similar narratives: the pianist often attempted to imitate the sound of two-handed piano music, and many of his own keyboard exercises train his one hand to assume th

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21

Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.

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Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its dist

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22

Чернышов, В. И. "Piano Concertos for the Left Hand by Ravel and Prokofiev: Two Answers to One Order." OPERA MUSICOLOGICA, no. 4 (November 15, 2020): 67–91. http://dx.doi.org/10.26156/om.2020.12.4.004.

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Пианист Пауль Витгенштейн, желая расширить и обновить свой концертный репертуар, внес в XX веке существенный вклад в фортепианную литературу для левой руки. В 1929–1930 годах он заказывает фортепианный концерт сначала Морису Равелю, а затем Сергею Прокофьеву. Это оказалось возможным благодаря наследству, полученному пианистом после смерти отца — сталелитейного магната Карла Витгенштейна. Если Равелю удалось, хоть и не полностью, удовлетворить потребности заказчика, то Прокофьеву было вовсе отказано в исполнении его музыки. Одной из главных причин неудачи Прокофьева можно считать творческий кри

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23

Булатова, О. Р., and Е. Ю. Третьякова. "Ivan Bunin’s Poetry in Russian Vocal Lyrics." Nasledie Vekov, no. 4(24) (December 31, 2020): 13–27. http://dx.doi.org/10.36343/sb.2020.24.4.001.

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Статья призвана определить характер и степень влияния музыки русских композиторов XX−XXI вв. на постижение своеобразия поэзии И. А. Бунина. Материалами послужили поэтические произведения И. Бунина, музыка русских композиторов, сведения нотных библиографических справочников, результаты исследований отечественных филологов и музыковедов. Установлено, что с достаточной полнотой до сих пор учтены лишь ранние (1900−1910-е гг.) переложения поэзии И. Бунина на музыку. Проведен музыковедческий анализ вокальных циклов Г. Дмитриева, создавшего более 30 сочинений на стихи И. Бунина. Изучен созданный русс

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24

Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.

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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the in

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25

Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.

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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the g

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26

Vardanega, Audrey. "Refiguring the Romantic Body: Chinese Women Pianists in the American Conservatory." Columbia Undergraduate Research Journal 2, no. 2 (2017). http://dx.doi.org/10.52214/curj.v2i2.4119.

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When the twenty-four-year-old pianist Yuja Wang walked on the stage of the Hollywood Bowl in a tight, short orange dress on August 2, 2011 to play the Third Rachmaninoff Piano Concerto under the direction of conductor Lionel Bringuier, Wang’s attire was interpreted as a transgression of normative expectations for classical performers. The Los Angeles Times reviewer Mark Swed described her dress as “so short and so tight that had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under eighteen not accompanied by an adult…had her heels been any h

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