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Structural Peculiarities in Rachmani...

Korneev, Dmitri,

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Structural Peculiarities in Rachmaninoff's Piano Concerto No.4, Op.40 = = Структурные особенности фортепианного концерта № 4 рахманинова, соч. 40 /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Structural Peculiarities in Rachmaninoff's Piano Concerto No.4, Op.40 =/ Dmitri Korneev.
Reminder of title:	Структурные особенности фортепианного концерта № 4 рахманинова, соч. 40 /
Author:	Korneev, Dmitri,
Description:	1 electronic resource (187 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
Contained By:	Dissertations Abstracts International85-11A.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31141132
ISBN:	9798382759920

Structural Peculiarities in Rachmaninoff's Piano Concerto No.4, Op.40 = = Структурные особенности фортепианного концерта № 4 рахманинова, соч. 40 /
Korneev, Dmitri,

Structural Peculiarities in Rachmaninoff's Piano Concerto No.4, Op.40 =Структурные особенности фортепианного концерта № 4 рахманинова, соч. 40 /Dmitri Korneev. - 1 electronic resource (187 pages)

Source: Dissertations Abstracts International, Volume: 85-11, Section: A.

Rachmaninoff (1873-1943) was one of the greatest composers and pianists of his time. He left a significant legacy in classical music, including works for piano, chamber music, symphonies, operas, and choral music. His four piano concertos are rightfully considered some of his most significant, distinguished, and popular works. Rachmaninoff's first three concertos were written in pre-revolutionary Russia and achieved broad success. The fourth was written after his emigration to the United States following almost 10 years of silence and left both Rachmaninoff and his audiences dissatisfied. This dissertation uses Rachmaninoff's fourth concerto as a medium to more deeply understand the crucial influence of this genius composer's life circumstances on the continuous evolution of the concerto's structure and the multiple attempts at its revision, which were triggered by Rachmaninoff's painful dependence on the opinions of his audiences and critics. In various attempts to improve the reception and understanding of the piece by the public, Rachmaninoff made elaborate changes to the masterpiece's form but succeeded only in rendering its message progressively less clear. Here, I use Hepokoski-Darcy theory and its flexible concept of the sonata form to analyze the variations in Rachmaninoff's sonata form. I adopt a new, critical, combined version of the concerto to reinvigorate interest in this work.

English

ISBN: 9798382759920Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Piano concerto

Structural Peculiarities in Rachmaninoff's Piano Concerto No.4, Op.40 = = Структурные особенности фортепианного концерта № 4 рахманинова, соч. 40 /
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520 $a Rachmaninoff (1873-1943) was one of the greatest composers and pianists of his time. He left a significant legacy in classical music, including works for piano, chamber music, symphonies, operas, and choral music. His four piano concertos are rightfully considered some of his most significant, distinguished, and popular works. Rachmaninoff's first three concertos were written in pre-revolutionary Russia and achieved broad success. The fourth was written after his emigration to the United States following almost 10 years of silence and left both Rachmaninoff and his audiences dissatisfied. This dissertation uses Rachmaninoff's fourth concerto as a medium to more deeply understand the crucial influence of this genius composer's life circumstances on the continuous evolution of the concerto's structure and the multiple attempts at its revision, which were triggered by Rachmaninoff's painful dependence on the opinions of his audiences and critics. In various attempts to improve the reception and understanding of the piece by the public, Rachmaninoff made elaborate changes to the masterpiece's form but succeeded only in rendering its message progressively less clear. Here, I use Hepokoski-Darcy theory and its flexible concept of the sonata form to analyze the variations in Rachmaninoff's sonata form. I adopt a new, critical, combined version of the concerto to reinvigorate interest in this work.
520 $a Рахманинов (1873-1943) был одним из величайших композиторов и пианистов своего времени. Он оставил значительное наследие в области классической музыки, в том числе произведения для фортепиано, камерную музыку, симфонии, оперы и хоровую музыку. Четыре фортепианных концерта Рахманинова по праву считаются одними из самых значительных, выдающихся и популярных произведений. Первые три концерта были написаны в дореволюционной России и имели широкий успех. Четвертый был написан после эмиграции в США и почти 10 лет молчания и оставил неудовлетворенными как Рахманинова, так и его публику. В диссертации четвертый концерт Рахманинова используется для более глубокого понимания решающего влияния обстоятельств жизни этого гениального композитора на непрерывную эволюцию структуры концерта и многочисленных редактирований, вызванных болезненной зависимостью Рахманинова от мнений публики и критиков. В попытках улучшить восприятие и понимание произведения публикой Рахманинов вносил изменения в форму шедевра, но преуспел лишь в том, что его смысл становился все менее ясным. В своей работе я использую теорию Hepokoski-Darcy и их гибкую концепцию сонатной формы для анализа структуры сонатной формы Рахманинова. Также я предлагаю новую, критическую, комбинированную версию концерта, чтобы оживить интерес к этому произведению.
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