AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary
The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name.
Authors: GEORGIANA FODOR.
DOI: 10.24193/subbmusica.2017.2.15
Published Online: 2017-12-20
Published Print: 2017-12-30
pp. 199-224
FULL PDF
ABSTRACT:
The purpose of this study is to illustrate the relation between the elaboration of form within the compositional process and its implications in the interpretative act. I have chosen to discuss Sergei Rachmaninoff’s Concerto No. 4 in G minor Op. 40 for piano and orchestra, one of his most significant late works, given the evolution of his musical language. For the performance analysis I relied on Rachmaninoff’s own recording of this work. I have particularly focused on the importance of the arc shape (prominent feature and major Tchaikovskian heritage in Rachmaninoff’s work), an organising principle which impresses not only the dynamic and metric physiognomy of the work, but also the musical thought of the performer.
Keywords: Sergei Rachmaninoff, performance practice, arch shape, tempo, formal structure.
