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.

L'apprendistato e il debutto operistico di Sergej Rachmaninov

All’ascolto dell’incompiuto Matrimonio di Musorgskij, Borodin aveva sentenziato lapidariamente: «une chose manquée». Uguale commento viene riservato tuttora alla produzione operistica di Sergej Rachmaninov. In questo caso però non ci troviamo di fronte a un teatro rivoluzionario che si trova costretto a fare un passo indietro rispetto ai principi programmatici di cui si vuol far portatore, bensì a un potenziale inespresso, a un profilo drammaturgico mai giunto a piena maturazione. L’evidente eterogeneità della produzione operistica lasciataci in eredità dal compositore non permette infatti di determinarne con chiarezza le ‘linee guida’ e ne rende problematica la collocazione nel contesto musicale a lui coevo. Scopo della presente dissertazione è indagare l’apprendistato e il debutto operistico del compositore russo attraverso l’analisi di materiale documentario, testi letterari, partiture nonché delle fonti critiche in lingua russa, difficilmente accessibili per lo studioso italiano. Il cuore dell’elaborato è un’analisi dettagliata di Aleko, un atto unico presentato nel 1892 dal compositore come prova finale al corso di ‘Libera composizione’ del Conservatorio di Mosca. L’opera viene considerata nel suo complesso come organismo drammatico-musicale autonomo (rapporto fonte/libretto, articolazione interna, sistema delle forme, costellazione dei personaggi, distribuzione delle voci, ecc.), ma inquadrata al contempo nel più ampio contesto del teatro musicale coevo (recezione critica sia da parte della pubblicistica coeva sia da parte della storiografia musicale). Viene fornita in appendice un’edizione del libretto con traduzione a fronte. Incorniciano l’analisi dell’opera un capitolo in cui si offre una rilettura estetica del ‘caso Rachmaninov’ e un aperçu sulla produzione operistica matura del compositore, alla luce delle riflessioni proposte nel corso della dissertazione.

Shine: Copyright law and film

This article looks at the various experiences of the film-makers involved in Shine in relation to copyright policy and litigation. Part 1 considers the involvement of Jan Sardi in the campaign to get screenwriters included in the moral rights regime in the film industry. Part 2 recounts the efforts of Scott Hicks to push for directors to acquire royalties under the retransmission scheme in the Copyright Amendment (Digital Agenda) Act 2000 (Cth). Part 3 discusses the contractual dispute between independent producer Jane Scott and the distributor over the gross receipts to the film Shine. Part 4 explores the disputes over the use of Sergei Rachmaninov's music in the film Shine.

L'assimilation rock de la musique romantique par le groupe Muse

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

(Table 1) Age of Cretaceous seamounts in the Western Pacific

Dynamics of the Pacific Plate is recorded in the systematic variation of location and the 40Ar-39Ar age of seamounts in the Western Pacific from 120 to 65 Ma ago. The seamounts are grouped into three linear zones as long as 5000 km. The seamounts become younger in the southeastern direction along the strike of these zones. Correlation between age and location of seamounts allows to divide the history of their formation into three stages. Rate of seamount growth was relatively low (2-4 cm/yr) during the first and the third stages within intervals of 120-90 and 85-65 Ma, whereas during the second stage (90-85 Ma), the seamounts were growing very fast (80-100 cm/yr). In the midst of this stage, at ~87 Ma ago, magmatic activity increased abruptly. Dynamics of seamount building is in good agreement with (1) pulses in development of the Ontong Java, Manihiki, and Caribbean-Colombian oceanic plateaus; (2) age of spreading acceleration in the mid-Cretaceous; and (3) a short period when the Izanagi Plate ceased to exist and the Kula Plate was formed. Variation in seamounts' age and location are in consistence with the hypothesis of diffuse extension of the Pacific Plate in course of its motion with formation of impaired zones of decompression melting. Direction of extension (325°-340° NW) calculated from the strike of seamount zones is consistent with the path of the Pacific Plate (330° NW) in the Late Cretaceous. Immense perioceanic volcanic belts were formed at that time along the margin of the Asian continent. The Okhotsk-Chukchi Peninsula Belt extends at a right angle to the compression vector. Three stages of this belt's evolution are synchronous with the stages of seamount formation in the Pacific Plate. Delay in origination of the East Sikhote-Alin Volcanic Belt and its different orientation were caused by counterclockwise rotation of the vector of convergence of oceanic and continental plates in the mid-Cretaceous. At the same time, i.e. 95-85 Ma ago, volcanic activity embraced the entire continental margin and tin granites were emplaced everywhere in the Eastern Asia. This short episode (90+/-5 Ma) corresponds to the mid-Cretaceous maximum of compression of the continental margin, and its age fits well a culmination in extension of the Pacific Plate.

Extended program notes for a recital of selected vocal literature

The purpose of these extended program notes is to provide information that will assist the listening audience in comprehending the historical and biographical significance of the each vocal selection. A brief analysis of each selection, a historical interpretation of the work, a translation of the texts and a CD of the recital are included. The contents of the recital comprise of several selections from the soprano repertoire: The Georg Phillip Telemann cantata Lauter Wonne, lauter Freude; the Wolfgang Amadeus Mozart Laudate Dominum from the Vesperae solemnes de confessore; the Joaquin Nin y Castellano Diez Villancicos de Noel; Gabriel Faurd's art songs Dans le ruines d'une abbay, Les Berceaux, and Au bord e l'eau; Sergei Rachmaninov's three songs Oni otvechali, Zdes Khorosho, and Vocalise; and Libby Larsen's Cowboy Songs.