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Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution. -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Shapiro Auctions
Shapiro Auctions RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS Tuesday - June 15, 2010 RUSSIAN ART AUCTION INCLUDING POSTERS & BOOKS 1: GUBAREV ET AL USD 800 - 1,200 GUBAREV, Petr Kirillovich et al. A collection of 66 lithographs of Russian military insignia and arms, from various works, ca. 1840-1860. Of varying sizes, the majority measuring 432 x 317mm (17 x 12 1/2 in.) 2: GUBAREV ET AL USD 1,000 - 1,500 GUBAREV, Petr Kirillovich et al. A collection of 116 lithographs of Russian military standards, banners, and flags from the 18th to the mid-19th centuries, from various works, ca. 1830-1840. Of varying sizes, the majority measuring 434 x 318mm (17 1/8 x 12 1/2 in.) 3: RUSSIAN CHROMOLITHOGRAPHS, C1870 USD 1,500 - 2,000 A collection of 39 color chromolithographs of Russian military uniforms predominantly of Infantry Divisions and related Artillery Brigades, ca. 1870. Of various sizes, the majority measuring 360 x 550mm (14 1/4 x 21 5/8 in.) 4: PIRATSKII, KONSTANTIN USD 3,500 - 4,500 PIRATSKII, Konstantin. A collection of 64 color chromolithographs by Lemercier after Piratskii from Rossiskie Voiska [The Russian Armies], ca. 1870. Overall: 471 x 340mm (18 1/2 x 13 3/8 in.) 5: GUBAREV ET AL USD 1,200 - 1,500 A collection of 30 lithographs of Russian military uniforms [23 in color], including illustrations by Peter Kirillovich Gubarev et al, ca. 1840-1850. Of varying sizes, the majority measuring 400 x 285mm (15 3/4 x 11 1/4 in.), 6: DURAND, ANDRE USD 2,500 - 3,000 DURAND, André. -
![Nicolai Fechin [1881–1955] This Russian-American Painter Brought His Intensely Creative Spirit and Genius for Portraiture to the American West](https://docslib.b-cdn.net/cover/5009/nicolai-fechin-1881-1955-this-russian-american-painter-brought-his-intensely-creative-spirit-and-genius-for-portraiture-to-the-american-west-495009.webp)
Nicolai Fechin [1881–1955] This Russian-American Painter Brought His Intensely Creative Spirit and Genius for Portraiture to the American West
WESTERN VISTA PERSPECTIVE: NICOLAI FECHIN [1881–1955] This Russian-American painter brought his intensely creative spirit and genius for portraiture to the American West WRITTEN BY Gussie Fauntleroy In 1895 in the Russian town of Kazan, a trading port and cultural crossroads on the wide Volga River, 13-year-old Nicolai Ivanovich Fechin stood at a crossroads in life. His father was a masterful artisan skilled in woodworking, archi- tecture, painting, gilding and cabinetry, but less adept at business, and the family had to give up their home. Nicolai’s brother and mother were mov- ing to another town to live with the boys’ grandmother, while their father would travel from village to village as an itinerant craftsman. Young Nicolai could have gone with either parent. Instead, he chose a third, and fortuitous, path. That same year, a graduate Self Portrait of the Imperial Academy of Arts in Saint Petersburg had opened a branch school in Oil on Canvas | 10.5 x 9.5 inches Kazan. It offered painting, sculpture, architecture and general education instruction Private collection to youth from families of all means, not only the wealthy. Nicolai, having spent his boyhood happily engaged in drawing and woodcarving in his father’s workshop, decided to stay in Kazan and attend the school. His father proudly approved. With a classmate, the boy moved into a disused house and subsisted on little more than bread, honey and tea while he attended the six-year school. “It was kind of a miraculous piece of providence. Without that school, Fechin would have needed either a patron or money to hire a master to teach him art, which of course his family didn’t have,” says Susan Fisher, director of the Taos Art rtMusuem Museum in New Mexico, which holds a collection of Fechin paintings, most on A aos long-term loan from private collections. -
The Jamison Galleries Collection
THE JAMISON GALLERIES COLLECTION BETTY W. AND ZEB B. CONLEY PAPERS New Mexico Museum of Art Library and Archives Dates: 1950 - 1995 Extent: 7.33 linear feet Contents Part One. Materials on Artists and Sculptors Part Two. Photographs of Works Part Three. Additional Material Revised 01/11/2018 Preliminary Comments The Jamison Galleries [hereafter referred to simply as “the Gallery”] were located on East Palace Avenue, Santa Fe, from August 1964 until January 1993, at which time it was moved to Montezuma Street. There it remained until December 1997, when it closed its doors forever. Originally owned by Margaret Jamison, it was sold by her in 1974 to Betty W. and Zeb B. Conley. The Library of the Museum of Fine Arts is indebted to the couple for the donation of this Collection. A similar collection was acquired earlier by the Library of the records of the Contemporaries Gallery. Some of the artists who exhibited their works at this Gallery also showed at The Contemporaries Gallery. Included in the works described in this collection are those of several artists whose main material is indexed in their own Collections. This collection deals with the works of a vast array of talented artists and sculptors; and together with The Contemporaries Gallery Collection, they comprise a definitive representation of southwestern art of the late 20th Century. Part One contains 207 numbered Folders. Because the contents of some are too voluminous to be limited to one folder, they have been split into lettered sub-Folders [viz. Folder 79-A, 79-B, etc.]. Each numbered Folder contains material relating to a single artist or sculptor, all arranged — and numbered — alphabetically. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 61, February, 2011 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089‐4353, USA Tel.: (213) 740‐2735 or (213) 743‐2531 Fax: (213) 740‐8550; E: [email protected] website: hƩp://www.usc.edu./dept/LAS/IMRC STATUS This is the sixty-first biannual Newsletter of the IMRC and follows the last issue which appeared in August, 2010. The information presented here relates primarily to events connected with the IMRC during the fall and winter of 2010. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2010 are available electronically and can be requested via e-mail at [email protected]. A full run can be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 for overseas airmail). RUSSIA If some observers are perturbed by the ostensible westernization of contemporary Russia and the threat to the distinctiveness of her nationhood, they should look beyond the fitnes-klub and the shopping-tsentr – to the persistent absurdities and paradoxes still deeply characteristic of Russian culture. In Moscow, for example, paradoxes and enigmas abound – to the bewilderment of the Western tourist and to the gratification of the Russianist, all of whom may ask why – 1. the Leningradskoe Highway goes to St. Petersburg; 2. the metro stop for the Russian State Library is still called Lenin Library Station; 3. there are two different stations called “Arbatskaia” on two different metro lines and two different stations called “Smolenskaia” on two different metro lines; 4. -
Rachmaninoff, Isle of the Dead, Op. 29
Sergei RACHMANINOFF rg Isle of the Dead, Op. 29 Sergei Vasilyevich Rachmaninoff (1 April 1873 – 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Born into a musical aristocratic family, Rachmaninoff enrolled in piano lessons at age 4, and began studying at the Saint Petersburg Conservatory at age 10. A somewhat failing domestic life, however, distracted Rachmaninoff from his early studies, as two of his sisters would die from disease before the age of 18, and his father – who lost 4 of the 5 family estates through his financial incompetence and gambling habits – left the family to live in Moscow. Upon his struggles, his cousin, Alexander Siloti – an accomplished pianist studying under Franz Liszt – suggested for Rachmaninoff to study at the Moscow Conservatory under his strict former teacher, Nikolai Zverev. Rachmaninoff would go on to study under Siloti himself, and graduated from the conservatory a year early, requesting to do his final exams prematurely to avoid studying under a new teacher after hearing that Siloti was leaving Moscow. After launching his compositional career, Rachmaninoff fell into a depression after learning of Pyotr Ilyich Tchaikovsky’s death, who had agreed to conduct his tone poem, The Rock (1893). Through his struggles, Rachmaninoff cancelled a Russian tour, pawned a gold watch given to him by Zverev, and debuted his Symphony No. 1 (1895) which was widely criticized – in large part due to conductor Alexander Glazunov’s misuse of rehearsal time and possible drunkenness during the performance. Following a 3-year writer’s block, Rachmaninoff would get counselling from Nikolai Dahl and compose his Piano Concerto No. -
The Institute of Modern Russian Culture
THE INSTITUTE OF MODERN RUSSIAN CULTURE AT BLUE LAGOON NEWSLETTER No. 62, August, 2011 IMRC, Mail Code 4353, USC, Los Angeles, Ca. 90089‐4353, USA Tel.: (213) 740‐2735 Fax: (213) 740‐8550; E: [email protected] website: hp://www.usc.edu./dept/LAS/IMRC STATUS This is the sixty-second biannual Newsletter of the IMRC and follows the last issue which appeared in February, 2011. The information presented here relates primarily to events connected with the IMRC during the spring and summer of 2011. For the benefit of new readers, data on the present structure of the IMRC are given on the last page of this issue. IMRC Newsletters for 1979-2010 are available electronically and can be requested via e-mail at [email protected]. A full run can be supplied on a CD disc (containing a searchable version in Microsoft Word) at a cost of $25.00, shipping included (add $5.00 for overseas airmail). RUSSIA To those who remember the USSR, the Soviet Union was an empire of emptiness. Common words and expressions were “defitsit” [deficit], “dostat’”, [get hold of], “seraia zhizn’” [grey life], “pusto” [empty], “magazin zakryt na uchet” [store closed for accounting] or “na pereuchet” [for a second accounting] or “na remont” (for repairs)_ or simply “zakryt”[closed]. There were no malls, no traffic, no household trash, no money, no consumer stores or advertisements, no foreign newspapers, no freedoms, often no ball-point pens or toilet-paper, and if something like bananas from Cuba suddenly appeared in the wasteland, they vanished within minutes. -
Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community. -
Workonprogress Work in Progress On
STUDIENWERK Doktorand*innen Jahrbuch 2019 ORK ON PROGRESS WORK INPROGRESS ON Anarchismus Bourdieu Unterdrückung Walter Benjamin Anti-Politik Exil Kolumbien Alternative Spaces Madness Gewerkschaften in Japan Autorität Russland India feministische Kunst BDM Psychopathologisierung Führung Construction Workers Suizidalität Psychiatrische Praxis Kurd*innen Armenien non-movement Emanzipation Flucht Künstlersozialkasse Kulturpolitik Postporn Ernst Bloch Theater Louise Michel Lustwissen Rosa Luxemburg Beiträge kritischer Wissenschaft Herausgegeben von Marcus Hawel & Herausgeber*innenkollektiv: Hanna Al Taher Riccardo Altieri Sven Brajer Darija Davidovic Marieluise Mühe Jonas Riepenhausen VSA: WORK IN PROGRESS. WORK ON PROGRESS Doktorand*innen-Jahrbuch 2019 der Rosa-Luxemburg-Stiftung WORK IN PROGRESS. WORK ON PROGRESS. Beiträge kritischer Wissenschaft Doktorand*innenjahrbuch 2019 der Rosa-Luxemburg-Stiftung Herausgegeben von Marcus Hawel Herausgeber*innenkollektiv: Hanna Al Taher, Riccardo Altieri, Sven Brajer, Darija Davidovic, Marieluise Mühe und Jonas Riepenhausen VSA: Verlag Hamburg www.vsa-verlag.de www.rosalux.de/studienwerk Die Doktorand*innenjahrbücher 2012 (ISBN 978-3-89965-548-3), 2013 (ISBN 978-3-89965-583-4), 2014 (ISBN 978-3-89965-628-2), 2015 (ISBN 978-3-89965-684-8), 2016 (ISBN 978-3-89965-738-8) 2017 (ISBN 978-3-89965-788-3), 2018 (ISBN 978-3-89965-890-3) der Rosa-Luxemburg-Stiftung sind ebenfalls im VSA: Verlag erschienen und können unter www.rosalux.de als pdf-Datei heruntergeladen werden. Dieses Buch wird unter den Bedingungen einer Creative Com- mons License veröffentlicht: Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Germany License (abrufbar un- ter www.creativecommons.org/licenses/by-nc-nd/3.0/legalcode). Nach dieser Lizenz dürfen Sie die Texte für nichtkommerzielle Zwecke vervielfältigen, ver- breiten und öffentlich zugänglich machen unter der Bedingung, dass die Namen der Autoren und der Buchtitel inkl. -
Women in Nineteenth-Century Russia: Lives and Culture
To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/98 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Wendy Rosslyn is Emeritus Professor of Russian Literature at the University of Nottingham, UK. Her research on Russian women includes Anna Bunina (1774-1829) and the Origins of Women’s Poetry in Russia (1997), Feats of Agreeable Usefulness: Translations by Russian Women Writers 1763- 1825 (2000) and Deeds not Words: The Origins of Female Philantropy in the Russian Empire (2007). Alessandra Tosi is a Fellow at Clare Hall, Cambridge. Her publications include Waiting for Pushkin: Russian Fiction in the Reign of Alexander I (1801-1825) (2006), A. M. Belozel’skii-Belozerskii i ego filosofskoe nasledie (with T. V. Artem’eva et al.) and Women in Russian Culture and Society, 1700-1825 (2007), edited with Wendy Rosslyn. Women in Nineteenth-Century Russia: Lives and Culture Edited by Wendy Rosslyn and Alessandra Tosi Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2012 Wendy Rosslyn and Alessandra Tosi Some rights are reserved. This book is made available under the Creative Commons Attribution-Non-Commercial-No Derivative Works 2.0 UK: England & Wales License. This license allows for copying any part of the work for personal and non-commercial -
Italy Too Sweet. Russian Landscape Painters Travelling Central Europe. the Case of Savrasov and Shishkin
kunsttexte.de/ostblick 3/2016 - 1 >an ZachariáF Italy too sweet. !ussian landsca e ainters tra)ellin, central $uro e. =he case o" 6a)raso) and 6hishkin I. Introduction It seems that nowadays, just as in the ast, any re- to e0ual3 but e0ually dif"icult to de art "rom. =here- search area related to !ussia and its art is contamin- "ore, !ussian ainters "ollowed the ath su,,ested by ated with the issue o" the #East or %est& binary writers long into the 19th century.4 scheme that has been resent in notions o" !ussia at !ussian landsca e ainting was "ormed through a least since 'yotr Chaadaye)*s 'hiloso hical +etters.1 com licated dialo,ue between the !ussian academic %ith res ect to the rather modest develo ment o" tradition 9the 6t. 'etersburg 4cademy and the 7o- !ussian landsca e ainting, enca sulated rou,hly scow 6chool o" 'ainting, 6culpture and 4rchitecture<, within the two decades "rom 1850 to 1870, I will ur- ,radual learning about Euro ean art roduction and sue the following related questions: Is it permissible to the develo ing !ussian tradition resulting in the work consider landsca e ainting in the scheme o" #East- o" the 'eredvizhniki and their circle. =he aim o" this ern& or #!ussian& versus #%estern& or #Euro ean&2 study is to com are !ussian landsca e ainting o" and %hat was the role o" travel and migration o" the 1850s to the 1870s with the e0uivalent art produc- artists and works o" art in the ,enesis o" the ima,e o" tion o" Central and %estern Euro e with which !ussi- the Russian landsca e in the fine arts.