a descriptive analysis of the piano concertos of sergei vasilyevich rachmaninoff by gary woodrow cobb, b.m. a thesis in music theory submitted to the graduate faculty i. sergei vasilyevich rachmaninoff ii. the first piano concerto in f-sharp minor, opus 1 iii. the second piano concerto in c minor, opus Essay on Sergei Rachmaninoff - Probably the most revered of Rachmaninoff’s compositions is the Second Piano Concerto, a work whose existence is attributed to the . Rachmaninoff was successful in repossessing his creative voice and had written his eternal 2nd piano concerto. In the year , this piano concerto has achieved success at an international level. But once again, there were some sudden changes in the life of Rachmaninoff. The genesis of Rachmaninoff’s “Second Concerto” can be briefly told: the fiasco of his This is not an essay on Rachmaninoff’s recording efforts, yet we cannot bypass the Piano Concerto No. 2 in C Minor, National Recording Registry, essay, Library of Congress, David Cannata. A Formal Analysis on Beethoven's Piano Concerto No.3 in C minor, Op. 37 a)The "Beethoven Concerto"s and Op. 37's Placement in the Genre and as a continuation of Mozart's Style b)Reception of the concerto-specifics of the concerto in a broad view.
- Piano Concerto No. 3 in D minor
- Rachmaninoff prelude op no analysis essay
- Sergei Rachmaninoff Essay
- Piano Concerto No. 2 in C minor
Background[ edit ] At its premiere, Rachmaninoff's first symphony , though now considered a significant achievement, was derided by contemporary critics.
Piano Concerto No. 3 in D minor
His second piano concerto confirmed his recovery from clinical depression and writer's block , cured by courses of hypnotherapy and psychotherapy and helped by support from his family and friends.
The concerto was dedicated to Nikolai Dahl , the physician who had done much to restore Rachmaninoff's self-confidence. It is written in three-movement concerto form. C minor  [ edit ] First eight bars of the concerto Main theme first played by the two violin sections, viola section and first clarinet The opening movement begins with a series of chromatic bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main theme.
This leads into the key and main theme of the piece, C Minor.
Rachmaninoff prelude op no analysis essay
In this first section, the orchestra carries the Russian-character melody, while the piano provides an accompanimental role, consisting of rapid oscillating arpeggios between both hands.
After the statement of the long first theme, a quick and virtuosic "piu mosso" pianistic figuration transition leads into the lyrical second theme in E flat major , the relative key.
The second theme is first stated by the solo piano, with light accompaniment coming from the upper wind instruments. A transition which follows the chromatic scale eventually lead to the final reinstatement of the second theme, this time with the full orchestra at a piano dynamic. The exposition ends with an agitated closing section with scaling arpeggios on the E flat major scale in both hands.
The agitated and unstable development borrows motives from both themes, changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The sounds here, while focused on a particular tonality, has ideas of chromaticism.
Two sequences of pianistic figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the previous themes, climaxing towards a B flat major "piu vivo" section.
A triplet arpeggio section leads into the accelerando section, with the accompanying piano playing chords in both hands, and the string section providing the melody reminiscent of the second theme. The piece reaches a climax with the piano playing dissonant fortississimo fff chords, and with the horns and trumpets providing the syncopated melody.
While the orchestra restates the first theme, the piano, that in the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as the main theme, the arpeggios in the piano serve as an accompaniment. This is followed by a piano-solo which continues the first theme and leads into a descending chromatic passage to a pianississimo A flat major chord.
Then the second theme is heard played with a horn solo. The entrance of the piano reverts the key back into C minor, with triplet passages played over a mysterious theme played by the orchestra.
Briefly, the piece transitions to a C Major glissando in the piano, and is placid until drawn into the agitated closing section in which the movement ends in a C minor fortissimo. At the beginning of the A section, the piano enters, playing a simple arpeggiated figure.
The main theme is initially introduced by the flute , before being developed by an extensive clarinet solo. The motif is passed between the piano and then the strings. Then the B section is heard.
It builds up to a short climax centred on the piano, which leads to cadenza for piano. The original theme is repeated, and the music appears to die away, finishing with just the soloist in E major. After the original fast tempo and musical drama ends, a short transition from the piano solo leads to the second theme lyrical theme in B flat major is introduced by the oboe and violas.
Sergei Rachmaninoff Essay
This theme maintains the motif of the first movement's second theme. The exposition ends with a suspenseful closing section in B-flat major. After that an extended and energetic development section is heard. The development is based on the first theme of the exposition.
Piano Concerto No. 2 in C minor
It maintains a very improvisational quality, as instruments take turns playing the stormy motifs. In the recapitulation, the first theme is truncated to only 8 bars on the tutti, because it was widely used in the development section.
After the transition, the recapitulation's 2nd theme appears, this time in D flat major, half above the tonic. However, after the ominous closing section ends it then builds up into a triumphant climax in C major from the beginning of the coda. The movement ends very triumphantly in the tonic major with the same four note rhythm ending the Third Concerto in D minor.