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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. ISSN 1997-292X.
SCIENTIFIC AREA: Study of Art
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EDITING AS AN ESSENTIAL FEATURE OF S. V. RACHMANINOFFS CREATIVE METHOD (BY THE EXAMPLE OF AUTHORS EDITIONS OF LARGE-SCALE PIANO COMPOSITIONS)

Chestnova Nadezhda Igorevna
Herzen State Pedagogical University of Russia


Abstract. The article considers S. V. Rachmaninoffs practice of editing his large-scale piano compositions (concerts and sonatas). The paper examines the peculiarities and principles of composers thinking in the process of editing and proposes a hypothesis that Rachmaninoffs 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 authors original composition.
Key words and phrases: . . , , , , , , , , , , , , , , S. V. Rachmaninoff, composers thinking in process of editing, cuts in Rachmaninoffs 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, authors editing, Rachmaninoffs editions, originals and editions.
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