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Journal articles on the topic 'Sergej Rachmaninov'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Quraishi, I. "Aleko. Sergei Rachmaninov." Opera Quarterly 13, no. 4 (1997): 201–4. http://dx.doi.org/10.1093/oq/13.4.201.

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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

Dziadek, Magdalena, and Michał Jaczyński. "Sergei Rachmaninoff’s performances of in Poland." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 11 (2016): 81–96. http://dx.doi.org/10.16926/em.2016.11.04.

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4

Wolf, P. "Creativity and chronic disease Sergei Rachmaninov (1873-1943)." Western Journal of Medicine 175, no. 5 (2001): 354. http://dx.doi.org/10.1136/ewjm.175.5.354.

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5

Zvereva, Svetlana. "Russian Dresden of the 1920s and 1930s: Profiles of musical, church and social life." Muzikologija, no. 30 (2021): 35–56. http://dx.doi.org/10.2298/muz2130035z.

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This article addresses the theme of Russian music in the German city of Dresden as it initially related to the virtuosi who had arrived from Russia. After the Revolution of 1917, the roles of Russian emigres, such as Issay Dobrowen, Sergei Rachmaninov, Sergei Jaroff with his Don Cossack Choir, Maria Chebotaryova-Vyrubova and others, grew in significance. On the strength of Russian emigre newspapers, archival documents, reference and research literature, individual events involving Russian music in this city during the inter-war years have been re-created and placed in a broad socio-cultural co

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6

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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7

Campbell, Stuart. "The Russian Paris of Sergei Rachmaninoff." Muzikologija, no. 30 (2021): 75–104. http://dx.doi.org/10.2298/muz2130075c.

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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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8

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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9

Cannata, David Butler, and Maria Biesold. "Sergej Rachmaninoff, 1873-1943, zwischen Moskau und New York: Eine Kunstlerbiographie." Notes 50, no. 2 (1993): 591. http://dx.doi.org/10.2307/898471.

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10

Sobol, Walentyna. "Геній i втраченa батьківщинa". Studia Ucrainica Varsoviensia 6 (20 квітня 2018): 387–96. http://dx.doi.org/10.5604/01.3001.0011.7994.

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This ar ticle aims at presenting the fate of two brilliant musicians and composers – Alexander Koshitsa (1875–1944) and Sergei Rachmaninov (1873–1943). The author of this article traces historical patterns of the tragedy of these genii who were forced to emigrate, could not return to their homeland but made it famous through their phenomenal talent shown in the world. The article analyzes materials presented in the archives of Alexander and Tatiana Koshitziv in Winnipeg, as well as the latest scientifi c research. The author concludes that Alexander Koshits and his choir had a mission of propa

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11

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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12

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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13

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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14

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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15

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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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

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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18

Demchenko, Alexander I. "Post Scriptum. A Few More Composers’ Names." ICONI, no. 3 (2021): 84–102. http://dx.doi.org/10.33779/2658-4824.2021.3.084-102.

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In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Pe

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19

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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20

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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21

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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22

Ludanova, Tat'yana V. "The third all-Russia scientific and practical conference "Culture and Art in Modern Educational Medium" in Kostroma State University." Vestnik Kostroma State University. Series: Pedagogy. Psychology. Sociokinetics, no. 2 (2019): 205–6. http://dx.doi.org/10.34216/2073-1426-2019-25-2-205-206.

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The article highlights the significant scientific and cultural event of the beginning of 2019, which took place at the Institute of Culture and Arts of Kostroma State University: The 3rd All-Russia Scientific and Practical Conference "Culture and Art in Modern Educational Medium". The aim of the conference included the exchange of advanced educational experience and modern scientific information in the field of culture and art, a regional exhibition of creative work of pedagogues of educational organisations was opened at the museum of the Institute of Culture and Arts of Kostroma University.

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23

Lu, Yujun. "“VARIATIONS ON CORELLI’S THEME” FOR PIANO OP. 42 SERGEY RACHMANINOV AS THE TOP OF THE MANIFESTATION OF CITATIONALITY IN THE WORKS OF THE COMPOSER." European Journal of Arts, no. 3 (2020): 103–6. http://dx.doi.org/10.29013/eja-20-3-103-106.

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24

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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25

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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26

Tsuranova, Oksana. "The role of N. Ilminsky and S. Rachinsky in the formation of the personality of S. Smolensky." Aspects of Historical Musicology 16, no. 16 (2019): 10–25. http://dx.doi.org/10.34064/khnum2-16.01.

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Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The form

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27

Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 85–99. http://dx.doi.org/10.34064/khnum2-49.06.

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The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M.

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28

Biesold, Maria. "Sergej Rachmaninoff. (Christian Heindl)." Österreichische Musikzeitschrift 47, no. 5 (1992). http://dx.doi.org/10.7767/omz.1992.47.5.318b.

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29

"Sergei Rachmaninoff: a bio-bibliography." Choice Reviews Online 38, no. 10 (2001): 38–5311. http://dx.doi.org/10.5860/choice.38-5311.

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30

Лу, Ю. "“VARIATIONS ON CORELLI’S THEME” FOR PIANO OP. 42 SERGEY RACHMANINOV AS THE TOP OF THE MANIFESTATION OF CITATIONALITY IN THE WORKS OF THE COMPOSER." European Journal of Arts, December 7, 2020, 103–6. http://dx.doi.org/10.29013/eja-20-3-103-106.

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31

Belobrovtseva, Irina, and Aurika Meimre. "Sõdadevaheline vene emigratsioon suures ilmas ja väikeses Eesti / Interwar Russian Emigration in the Larger World and "Little Estonia"." Methis. Studia humaniora Estonica 12, no. 15 (2017). http://dx.doi.org/10.7592/methis.v12i15.12114.

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Teesid: Oktoobrirevolutsiooni järgne vene emigratsioon, mida teaduskirjanduses traditsiooniliselt nimeta takse esimeseks laineks, valgus mööda ilma laiali ning oli seninägematult arvukas, haarates kaasa miljoneid endise Tsaari-Venemaa elanikke. Sellele nähtusele on pühendatud tuhandeid humanitaartea duslikke, sotsioloogilisi, politoloogilisi jm uurimusi, mis kajastavad vene eksiilkultuuri eri tahke. Vene emigratsioon puudutas ka Eestit ning enamik käsitletud ilmingutest olid otseselt seotud siinse vene kogukonnaga, ent kohati väga erineva tähendusega. Käesoleva artikli eesmärk on lühidalt kirj

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