The Evolution of Rachmaninov's Pianistic Style from 1892 to 1941 as Seen in Selected Original Works and Transcriptions for Piano

Unlike some other major composer-pianists (Franz Liszt and Alexander Scriabin being the most notable examples), Sergei Rachmaninov did not experience any dramatic changes in his compositional style; one can, however, notice certain stylistic differences between piano works composed during different periods of his long creative life. This dissertation argues that a clear evolution of Rachmaninov's pianistic style through his three creative periods can be traced by examining a selection of his compositions, from his first significant cycle for piano, 5 Marceaux de fantaisie, Op. 3 (1892), all the way through to his last piano work, a transcription of P.I.Tchakovsky's Lullaby, Op. 16, No. 1 (1941). Rachmaninov's life as a composer can be divided into three periods. His early period was ended abruptly by the disastrous premiere ofhis First Symphony in 1897, which caused a deep psychological crisis in the life of the young composer. Piano works of this period are often characterized by relatively simple homophonic texture, when Rachmaninov was clearly influenced by some of his Russian predecessors, most notably Tchaikovsky. His second and most productive period, also known as the period of"Russian maturity," started in 1900, when he began working on the Second Suite for two pianos, Op. 17, and the Second Concerto, Op. 18; this phase ended with the Russian Bolshevik revolution of 1917. Works of this time exhibit a mature style of piano writing, with rich, virtuosic - often considered excessive by many critics - texture and ever-increasing use of chromatic harmonies. Rachmaninov's works of the third period are limited in number owing to the composer's preoccupation with a career as pianist. Original works for piano now give way to revisions of earlier compositions and transcriptions: Rachmaninov's piano writing becomes more efficient and economical without losing any of its virtuosic brilliance. This dissertation project examines in detail, over the course of three piano recitals, a variety of works composed during the "Russian maturity" period, from several Preludes from Op. 23 (1903), the first major cycle for solo piano of the period, to 9 Etudes-Tableaux, Op.39 (1917), the last one; the early period is represented by 3 of 5 Marceaux defantaisie, Op. 3 (1892), while the late period is shown through several piano transcriptions and revised versions of the remaining 2 pieces from Op. 3.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Descriptive analyses of piano works for the use of teachers, players, and music clubs by Edward Baxter Perry

UANL

Siegfried-Idyll. : Für Pianoforte, 2 Violinen, Viola und Violoncell (nebst einem 2.ten Violoncell ad. libitum) /

Includes part for optional 2d violoncello.

Siegfried-Idyll. Für Pianoforte, 2 Violinen, Viola und Violoncell nebst einem 2. Violoncell ad libitum,

Arrangement for pianoforte, 2 violins, viola, and violoncello.

Concerto pour le piano.

Pl. no. 8507.

Tamul hymns set to German tunes : arranged for the voice with an accompaniment for the organ or piano = Krietucapaiyil valak̃iya ñāṉappāṭṭukaḷukkaṭutta almāṇiyarañkañkaḷ /

Mode of access: Internet.

La Steinquerque, sonate en si♭ pour 2 violons et piano avec violoncelle non obligé.

"Éditée d'après le manuscrit de Bibl. Nat. La réalisation de la basse et les nuances ont été ajoutées."

Concertos for the piano, op. 25 [and] op. 40. [music] /

Cover title: Concerto in D minor for the piano.

Quintett F moll für Pianoforte, 2 Violinen, Viola und Violoncell, op. 34. [music] /

Mode of access: Internet.

Konzert für Klavier und Orchester. [music] : mit Begleitung eines zweiten Klaviers /

For 2 pianos; originally for piano and orchestra.

43 piano sonatas. [music] : complete in 4 volumes /

Includes thematic index.

Sonate en ré majeur, pour 2 violons et piano.

Cover title.

Serenade op. 92 : 2 Violinen und Piano /

Mode of access: Internet.

Concerto in F♯ minor, op. 69, [for pianoforte], the orchestral parts arranged for a second piano in score /

Acc. arr. for 2d piano.