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SOURCE:    Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art.
Issues of Theory and Practice
. Tambov: Gramota, 2017. № 12. Part 2. P. 199-202.
SCIENTIFIC AREA:    Study of Art
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EDITING AS AN ESSENTIAL FEATURE OF S. V. RACHMANINOFF’S CREATIVE METHOD (BY THE EXAMPLE OF AUTHOR’S EDITIONS OF LARGE-SCALE PIANO COMPOSITIONS)

Chestnova Nadezhda Igorevna
Herzen State Pedagogical University of Russia


Abstract. The article considers S. V. Rachmaninoff’s practice of editing his large-scale piano compositions (concerts and sonatas). The paper examines the peculiarities and principles of composer’s thinking in the process of editing and proposes a hypothesis that Rachmaninoff’s cuts were conditioned by necessity rather than by creative motives and were implemented by mechanical abridging thus breaking the harmony of forms and proportions of author’s original composition.
Key words and phrases: С. В. Рахманинов, композиторское мышление в процессе редактирования, купюры в сочинениях Рахманинова, вторая редакция первого концерта, первая редакция четвёртого концерта, третья редакция четвёртого концерта, первый фортепианный концерт, четвёртый фортепианный концерт, первая соната, вторая соната, редакции фортепианных концертов, авторское редактирование, редакции Рахманинова, оригиналы и редакции, S. V. Rachmaninoff, composer’s thinking in process of editing, cuts in Rachmaninoff’s compositions, second edition of the First Concerto, first edition of the Fourth Concerto, third edition of the Fourth Concerto, Piano Concerto № 1, Piano Concerto № 4, Piano Sonata № 1, Piano Sonata № 2, editions of Piano Concerts, author’s editing, Rachmaninoff’s editions, originals and editions
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