rachmaninoff's trio elegiaque, op 9: a performer's guide
TRANSCRIPT
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Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
8-24-2016
Rachmaninoff 's Trio Elegiaque, Op 9: APerformer's GuideElisa Braga GaleanoLouisiana State University and Agricultural and Mechanical College
Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations
Part of the Music Commons
This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion inLSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected].
Recommended CitationGaleano, Elisa Braga, "Rachmaninoff 's Trio Elegiaque, Op 9: A Performer's Guide" (2016). LSU Doctoral Dissertations. 4125.https://digitalcommons.lsu.edu/gradschool_dissertations/4125
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RACHMANINOFF’STRIOELEGIAQUE,OP.9:APERFORMER’SGUIDE
ADissertation
SubmittedtotheGraduateFacultyoftheLouisianaStateUniversityand
AgriculturalandMechanicalCollegeinpartialfulfillmentofthe
requirementsforthedegreeofDoctorofMusicalArts
in
ThedepartmentofSchoolofMusicby
ElisaBragaGaleanoB.M.FederalUniversityofMinasGerais,2002M.MStateCollegeofMusicKarlsruhe,2006
December2016
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ACKNOWLEDGMENTS
IwouldliketothankthepianofacultyoftheLouisianaStateUniversity.First
andforemost,IthankProfessorWillisDelonyforhisguidance,dedication,and
supportthroughoutthelastfouryears.ThanksarealsoduetoProfessorJanice
Grimesforallsupportandmanymomentsofinspiration.
IgratefullyacknowledgethesupportofmydearfriendsYovaSlesarevaand
CarlosRiazuelo,whotreatedmeasfamily,andDeborahRibeiroandThomaz
Rodriguesforlendingtheirmusicaltalentstothisfinalpresentation inthelecture
recital.
Finally,Ithankmyparents,sisters,myhusbandIura,andMaguilla“in
memoriam”forallthesupportandunconditionallove.
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TABLEOFCONTENTS
ACKNOWLEDGMENTS.......................................................................................................................ii
LISTOFEXAMPLES...........................................................................................................................iv
ABSTRACT.............................................................................................................................................vii
INTRODUCTION...................................................................................................................................1
CHAPTERONE:BACKGROUNDANDEARLYCAREER........................................................2
CHAPTERTWO:TCHAIKOVSKY’SINFLUENCE.......................................................................6
CHAPTERTHREE:CONSIDERATIONSFORTHEPIANISTINRACHMANINOFF’STRIOELEGIAQUE,OP.9.....................................................................................................................14CHAPTERFOUR:CONCLUSION....................................................................................................33
REFERENCELIST................................................................................................................................36
VITA........................................................................................................................................................38
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LISTOFEXAMPLES
Example1a,Tchaikovsky,TrioinAminor,mm.124-126,pianopart..........................7
Example1b,Rachmaninoff,TrioinDminor,mm.268-269..............................................8
Example2a.Tchaikovsky,mm.42-43........................................................................................8
Example2b.Rachmaninoff,mm.133-134...............................................................................9
Example3a.Tchaikovsky,mm.186-187..................................................................................9
Example3b.Rachmaninoff,mm.100-102...............................................................................10
Example4a.Tchaikovsky,mm1-4..............................................................................................10
Example4b.Rachmaninoff,mm1-4...........................................................................................11
Example5a.Tchaikovsky,var.1,mm.1-3...............................................................................11
Example5b.Rachmaninoff,var.1,mm.1-4.............................................................................11
Example6a.Tchaikovskyvar.3,mm1-tyu3............................................................................12
Example6b.Rachmaninoffvar.3,mm1-4...............................................................................12
Example7a.Tchaikovsky,mm286–289................................................................................13
Example7b.Rachmaninoff,mm105–108.............................................................................13
Example8.RachmaninoffElegiaqueTrioOp.9firstmvt.,mm1-4...............................15
Example9.Rachmaninoff1stmvt,mm61–64......................................................................16
Example10a.1stmvt,mm73-76.................................................................................................17
Example10b.1stmvt,mm361–363.........................................................................................17
Example11.1stmvt,mm100–102............................................................................................18
Example12.1stmvt,mm131–132............................................................................................19
Example13a.1stmvt,mm238–241.........................................................................................20
Example13b.1stmvt,mm242–245.........................................................................................20
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Example14a.RachmaninoffTriofirstmvt.,mm276-277................................................21
Example14b.RachmaninoffTriofirstmvt,mm268–269..............................................21
Example14c.TchaikovskyPianoConcertoOp23firstmvt,mm239-239................22
Example15a.RachmaninoffElegiaquetriosecondmvt.theme,mm.1-2..................22
Example15b.Rachmaninoff,TheRockOpus7,theme,mm.39–40,flutepart........22
Example16a.RachmaninoffTriosecondmvt.,variation1,mm.1-4..........................23
Example16b.Rachmaninoff2ndmvt.var.1,mm33-34......................................................23
Example17a.2ndmvt.var.3,mm–1-3.....................................................................................24
Example17b.2ndmvt.var.3,authorfingering,mm14–17.............................................24
Example17c.2ndmvt.var.3,Rachmaninofffingering,mm14–15.............................25
Example18.2ndmvt.var.5,mm27-28.....................................................................................25
Example19a.RachmaninoffPreludeOp3no.2,mm30–31............................................26
Example19b.Rachmaninofftrio2ndmvt.var.6,mm1-4.................................................26
Example20a.Rachmaninoff2ndmvt.var.8,mm20–22...................................................27
Example20b.Rachmaninoff2ndmvt.var.8,mm33–35.................................................27
Example21.RachmaninoffTrio,thirdmvt,mm105–108..............................................28
Example22.Rachmaninoff3rdmvt.,mm1-4..........................................................................29
Example23.Rachmaninoff3rdmvt.,mm36–39.................................................................29
Example24a.Rachmaninoff3rdmvt.Chordsexercise,pianopart,mm68–69.....30
Example24b.Rachmaninoff3rdmvt.,mm68–69...............................................................30
Example25a.TchaikovskyPianoConcertoOp23firstmvt,mm160–161..............31
Example25b.RachmaninoffTriothirdmvt,mm86-87....................................................31
Example26a.RachmaninoffPreludeOp23no.5inGminor,mm63-65....................32
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Example26b.RachmaninoffTriothirdmvt,mm88-90....................................................32
Example27.Rachmaninoff3rdmvt,mm102–104.............................................................32
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ABSTRACT
Thisdocumentandtheaccompanyinglecture/recitalperformanceaimtocall
moreattentiontothisintenseanddeeplyemotionalwork.Focuswillbeplacedon
thetechnicalchallengesinthepianopartwhilemakingrecommendationsforthe
performerwhenappropriate.Asbackground,anoverviewofRachmaninoff’searly
lifeandworkispresentedinordertoprovideaclearerunderstandingofwhatled
himtocomposethistrio.Ofparticularimportanceinthewritingofthispiecewas
thedirectinfluenceofPeterTchaikovsky’sTrio,Op50,whichwillalsofigure
prominentlyinthebackgrounddiscussion.
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INTRODUCTION
ThekeyboardmusicofSergeiRachmaninoffhaslongbeenpopularwith
pianistsandaudiences.Hisconcertosandsoloworksarestillperformedfrequently
inconcerthallsworldwide.Fewinnumberandlesswellknownbutsignificant
nonethelessarehischamberworks,inparticularhisTrioElegiaque,Op.9,inD
minor,whichcouldbeconsideredahiddengemthatshouldbegivenmoreattention
amongscholarsandperformers.
Thisdocumentandtheaccompanyinglecture/recitalperformanceaimtocall
moreattentiontothisintenseanddeeplyemotionalwork.Focuswillbeplacedon
thetechnicalchallengesinthepianopartwhilemakingrecommendationsforthe
performerwhenappropriate.Asbackground,anoverviewofRachmaninoff’searly
lifeandworkispresentedinordertoprovideaclearerunderstandingofwhatled
himtocomposethistrio.Ofparticularimportanceinthewritingofthispiecewas
thedirectinfluenceofPeterTchaikovsky’sTrio,Op50,whichwillalsofigure
prominentlyinthebackgrounddiscussion.
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CHAPTERONE:BACKGROUNDANDEARLYCAREER
TheBeginning
Rachmaninoffwasbornintoafamilyoftalentedamateurmusicians.His
paternalgrandfatherArkadyAlexandrovichRachmaninoffplayed“littletunes,
consistingoffourorfivenotes”1fortheyoungSergei,andwasprobablythefirst
persontoencouragetheboy’sinterestintheinstrument.Rachmaninoff’sfatherwas
anamateurpianistwhousedtoperformandentertainhisfriendsaswell.Yelena,
Rachmaninoff’soldersister,introducedhimtoTchaikovsky’ssongs.Shewasa
prominentsingerbuthadhercareercutshortbyanearlydeath.2Anotherfamily
memberwhosupportedhisearlyinterestwashisGrandmotherLyubovButakova,
whooftentookhimtohearchoralmusicinthecathedralsofSt.Petersburg.
Rachmaninoff’sfirstpianoteacherwasAnnaOrnatskaya,withwhomhe
beganlessonsatagenine,rightafterhergraduationfromtheSt.Petersburg
Conservatoryin1882.Sheconvincedhisparentstoallowhimtoeventuallystudyat
theConservatoryandtopursueamusicalcareer,andsobecameresponsiblefor
preparinghimforentryintotheSt.PetersburgConservatory.In1883,hewas
acceptedintothepianoclassofVladimirDemyanskyattheConservatory,but
continuedhislessonsforthreemoreyearsathomewithOrnatskaya.Inadditionto
pianolessonsattheConservatory,Rachmaninoffalsotookclassesinmusictheory,
musichistoryandgeneralsubjects.Soonafterhearrivedthere,hissisterSofiadied
1MarkHarrison,RachmaninoffLife,Works,Recordings(London;NewYork:Continuum,2005),7.2Yelenadiedofperniciousanemia.AndreasWehrmeyer,Rakhmaninov(London:Haus,2004),4.
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inadiphtheriaepidemic.ThistragedywasfollowedbyYelena’sdeathin1885.In
themeantime,hisparents’marriagesufferedarupturethatmayhavecontributedto
Rachmaninoff’sdepressionyearslater.3
Inthefallof1885,Rachmaninoffwasacceptedintotheclassofthefamous
andnotoriouslystrictpianoprofessorNikolaySergeyevichZverevattheMoscow
Conservatory,whereuponhelefthishomeandtheSt.PetersburgConservatoryand
movedtoMoscow.Rachmaninoff’sdailyroutineincludedseveralhoursofpractice
underZverev’srigidsupervision.4RachmaninoffandotherofZverev’smostgifted
studentslivedathishouserent-free.Hesupervisedtheirlivesandinterests.His
pupilsexperiencedthegreatculturallifeinMoscow,attendingplays,operasand
concerts.Asateacher,Zverev’smainconcernswereshowinghisstudentshowto
produceabeautifultone,howtoresolvedifficulttechnicalproblemswithout
tensionandhowtoprojectrhythmicclarity(whichheconsideredthefoundationof
musicalstructure).OnSundays,ZverevfrequentlyinvitedsomeofMoscow’stop
musicians,artistsandintellectualstohishometohearstudentperformances.
AlthoughhewasstilllivingandstudyingwithZverev,in1888Rachmaninoff
beganpianostudyattheconservatorywithhisverysuccessfulcousinandformer
studentofLiszt,AlexanderZiloti,whooriginallyrecommendedZverevasateacher.
Laterthatsameyear,Rachmaninoffbeganharmonyandcounterpointclasseswith
AntonArenskyandSergeyTaneyev.Arensky’sharmonictheoriesoriginatedfrom
3Harrison,Rachmaninoff,9.4Wehrmeyer,Rakhmaninov,8.
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thoseofTchaikovskyandRimsky-Korsakov5,andwereveryinfluentialon
Rachmaninoff’sownearlycompositionalstyle.Heregularlybroughthisearly
compositionstoTaneyevforconstructivecriticism,doingsountiltheolder
composer’sdeathin1915.AsRachmaninoff’spassionforcompositionincreased,
Zverev,unfortunately,didnotsupportthisinterest,believinginsteadthatthefocus
shouldbeonperformance.ThetensionbecamesuchthatRachmaninoffwasforced
tomoveoutofZverev’shousein1889.TheyspokeagainonlyafterRachmaninoff’s
graduationfromtheConservatory.Rachmaninofftookhispianofinalexamsin1891,
coincidingwithZiloti’sresignationfromtheConservatory.Oneyearlater,hetook
hisfinalexamsincomposition.DuringhisfinalyearattheConservatory,hewrote
hisPianoConcertoNo.1inF-sharpminor(laterrevised)aswellashisrequired
graduationpiece,aone-actoperaentitledAleko,basedonPushkin’spoemThe
Gypsies.
CareerAfterGraduation
AlekoearnedRachmaninofftheGreatGoldMedal,whichhadbeenawarded
onlytwicebeforeinConservatoryhistory.TchaikovskywasabigsupporterofAleko,
nodoubtcontributingtoitscontinuedsuccessand,in1893,theworkgained
additionalprestigebybeingperformedattheBolshoiTheatre.Thiseffectively
launchedRachmaninoff’scareerasamajorcomposer.Upongraduation,
RachmaninoffsignedwiththepublisherGutheil,whichreleasedmostofhis
compositionsupuntil1914.In1892,Rachmaninoffperformedasolopieceatthe5RobertCunningham,SergeiRachmaninoffABio-Bibliography(London:Greenwood,2001),2.
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ElectricExpositioninMoscow6,thefamousPreludeinC-sharpMinor,Op.3,No.2,
whichwouldhelpestablishhimasaconcertpianist.Thepiecewasaparticular
favoriteofTchaikovsky.7Duringtheyearsof1882and1883,helivedaverybusy
lifeascomposer,concertpianistandalsoconductor.Hepublishedsuchimportant
earlyworksasAleko,theMorceauxdeFantaisieforsolopiano,Op.3,thesymphonic
poemTheRock8,andotherwell-receivedcompositions.
6VictorSeroff,Rachmaninoff(NewYork:SimonandSchuster,1950),54.7Harrison,Rachmaninoff,49.8BasedontwolinesofLermontof’spoemTheRock:“Agoldencloudsleptforthepleasureallnightonthebreastofthegauntrock”(Harrison,Rachmaninoff,54).
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CHAPTERTWO:TCHAIKOVSKY’SINFLUENCE
Tchaikovsky’sDeath
Rachmaninoff’sadmirationforTchaikovsky’sworkandforTchaikovskythe
personbeganearly.Inhisearlyyearsathome,hissisterYelenawouldoftenaskhim
toaccompanyherininformalperformancesofTchaikovsky’ssongs.AtZverev’s
Sundayhouseconcerts,Rachmaninoffoftenmethisgreatidol.Whilestudyingatthe
MoscowConservatory,hemadeapiano-duettranscriptionofTheSleepingBeauty
balletscorethroughacommissionbyZiloti,althoughTchaikovskywasultimately
notsatisfiedwiththeresult.Afterhisgraduation,Tchaikovskybecamenotonlya
friendbutalsoaprofessionalmentor.OneofRachmaninoff’sregretswasmissing
theopportunitytoseethegreatcomposerconducttheworldpremiereofhis
SymphonyNo.6,Pathetiquein1893.Forshortlyafter,Tchaikovskydiedattheage
of53duringacholeraepidemicinMoscow.9Hisdeathwasashocknotonlyfor
Rachmaninoffbutalsofortheentiremusicalworld.“Helostnotonlyafatherly
friendwhohadsethimanexampleasamusician,which,consciouslyand
unconsciously,hehadalwaysfollowed,butahelpfulenergeticpatronofhisyoung
butsteadilygrowingmusicalactivities,aloyalsupporterandafaithfuladvisor
whomheneededbadlyforhisfirstfalteringstepsintothegreatworldofmusic.”10
ZverevdiedonlyonemonthbeforeTchaikovsky,forcingRachmaninofftodealwith
thepassingoftwoimportantmentorswithinweeksofeachother.
9RobertWalker,Rachmaninoffhislifeandtimes(Kent:MidasBooks,1980),32. 10RickyDuckett,“Studyofthetwo‘trioselegiaques’ofSergeiRachmaninoff”(D.M.A.diss.,UniversityofMiami,1998),74.
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Tchaikovsky’sTrioandComparisonswithRachmaninoff
UponTchaikovsky’sdeath,RachmaninoffbegantoworkontheTrio
ElegiaqueNo.2,dedicatedtothelatemaster,andspecificallymodeledonand
inspiredbythePianoTrioinAMinor,Op.50.Tchaikovsky’striowascompletedin
1882anddedicatedtothememoryofhisclosefriendandcolleagueattheMoscow
Conservatory,thepianistNicholasRubinstein,whodiedin1881.Theworkis
comprisedoftwolongmovements(thesecondmovementintwoparts),astructural
planthatdirectlyinfluencedRachmaninoff’sTrioElegiaqueNo.2.Thefirst
movementofTchaikovsky’strioisinsonata-allegroform.Theviolinandcello
operatemorelikeorchestralsupport,asthepianowritingisquiteintenseand
virtuosic,almostconcerto-like.ThisisacharacteristicofRachmaninoff’strioaswell.
Manyspecifictechnicalsimilaritiesinthetreatmentofthepianobetweenthetwo
openingmovementscanbeobserved.NoteinExamples1aand1bhowboth
composersemployblockchordtexturesinrapid,virtuosicalternating-hand
technique,characteristicofsoloconcertowriting.11
Example1a.Tchaikovsky,TrioinAminor,mm.124-126,pianopart.
11AsimilarcomparisonismadebyDuckett,p.74.
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Example1b,Rachmaninoff,TrioinDminor,mm.268-269.
NoteinExamples2aand2bhoweachcomposerallowsthestringstocarry
themelodywhilethepianosuppliesaccompanimentinascendingbrokenchord
textures.ThemoodinTchaikovskytrioatthispointismorevividandenergetic,
whileRachmaninoffprojectsamoremelancholiceffect,perhapsowingtothechoice
ofkey(Gminor).
Example2a.Tchaikovsky,mm.42-43.
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Example2b.Rachmaninoff,mm.133-134.
InExamples3aand3b,notehowbothcomposersadoptthickchordalpiano
textures.IntheTchaikovskyexcerptthecellofollowsthepianowithasingleline
melodywhiletheviolinprovidesascale-likeflourish.Bycontrast,inthe
Rachmaninoffexcerptbothstringplayersprovidebriefrhythmiccommentsin
betweenthepiano’ssustainednotes.
Example3a.Tchaikovsky,mm.186-187.
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Example3b.Rachmaninoff,mm.100-102.
Bothtriosemploythemeandvariationsformintheirsecondmovement.
Tchaikovsky’striocontainselevenvariations,includingalongthree-partfugue
(variation8),awaltz(variation6),andasolopianomazurka(variation9).By
contrast,Rachmaninoff’striocontainsonlyeightvariations,butbalancestheoverall
structurebyincludingathirdmovement(seediscussioninChapterThree).Ineach
triothethemeischaracterizedbyasimplemelodyplayedbythepianoalone(see
Examples4aand4bbelow).
Example4a.Tchaikovsky,mm1-4.
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Example4b.Rachmaninoff,mm1-4.
Examples5aand5bdisplayhow,intherespectivefirstvariations,each
composeradoptsapianotexturefeaturingrunningsixteenthnotesasan
accompanimenttothecantabilestringlines.
Example5a.Tchaikovsky,var.1,mm.1-3.
Example5b.Rachmaninoff,var.1,mm.1-4.
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Examples6aand6baretakenfromtherespectivethirdvariations,eachof
whichisascherzososettingfeaturingstringpizzicatochordsandfastpassagework
inthepiano,creatingawittyeffect.
Example6a.Tchaikovskyvar.3,mm1-3.
Example6b.Rachmaninoffvar.3,mm1-4.
TchaikovskyconcludeshistriowithafinalVariationefinaleecodaattheend
ofthesecondmovement.Rachmaninoffinsteadwritesaseparatethirdmovement,
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whichincludesashortcodathatservesthesamepurpose.Asdemonstratedin
Examples7aand7bbelow,thetriosconcludesimilarly.Themainthemesofthe
respectivefirstmovementsarerestatedinaslow,mournfulsetting.
Example7a.Tchaikovsky,mm286–289.
Example7b.Rachmaninoff,mm105–108.
Despitethemanysimilaritiesintheform,melodicstyle,rhythmicideasand
othertechnicaldetailsbetweenthetwoworks,Rachmaninoffdidnotwishtomerely
copyTchaikovsky’strio.ThoughinspiredbyTchaikovsky’scompositional
techniques,henonethelessappliedhisownindividualstyleandpersonality.The
soundofthispassionateworkdisplayshisowndistinctivesignaturethatwouldbe
recognizablethroughouthiscareer.
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CHAPTERTHREE:CONSIDERATIONSFORTHEPIANISTINRACHMANINOFF’STRIOELEGIAQUE,OP.9
RachmaninoffbeganworkonhissecondtrioOctober2,1893–theday
Tchaikovskydied–andfinisheditsevenweekslateronDecember15.12Thewide
rangeoftextures,moods,tempiandtechnicaldevicesinthistrioaretypicaloflarge
Romantic-styleworksfromthisera.Rachmaninoffdescribeshisexperienceof
writingthetriothroughaletterhesenttoNataliaSkalon13inDecember17th,1893:“
earnestly,intensely,painstakingly…allmyfeelingsandpowersweredevotedtoit…I
trembledforeveryphrase,sometimescrossedoutabsolutelyeverythingandbegan
tothinkaboutitalloveragain.”14ThefirstperformancetookplaceonJanuary31,
1894,inMoscow.Thecomposerwasnotcompletelysatisfiedwiththepiece,leading
himtoreviseitin1907andyetagainin1917.15Thefinalrevision,1917,was
publishedin1950bytheSovietStatePublishingHouseandeditedbyGoldenweizer.
FirstMovement–Moderato
Thefirstmovementisinsonataformstructure16andposesparticular
technicalchallengesforthepianistthroughout,aswillbedemonstratedinthe
selectedexamplesthatfollow.Theopeningmotive,whichextendstomeasure60,
12RobertThrelfalandGeoffreyNorris,ACatalogueofthecompositionofS.Rachmaninoff(London:Scholarpress,1982),51.13NataliaSkalonwasoneofthedaughtersofGeneralSkalon.ThefamilywelcomedRachmaninoffintheirhouseinIvanovkaafterhebrokeuphisrelationshipwithZverev.Nataliabecamehisregularcorrespondent.14Harrison,Rachmaninoff,58.15Thecompletechangesandcutsinthe1907and1917revisionarepresentedbyThrelfalandNorrispage52.16DucketpresentsthecompletestructuraloutlineofthefirstmovementinhisD.M.A.diss.page19.
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featuressomberdescendingchromaticlinesinthepianothataccompanythe
sorrowfulmelodiclinesinthestrings.Themelodyistreatedtoextensive
developmentthroughoutthemovement(Example8).
Example8.RachmaninoffElegiaqueTrioOp.9firstmovement,mm1-4.
Thefirstofthesignificanttechnicalchallengesforthepianistbeginsin
measure61.Inthispassage,fortwomeasurestherighthandplaysoctavechordsin
adescendingchromaticpatternaccompaniedbybrokenchordsintheleft.Inthe
twomeasuresthatfollow,therighthandswitchestoanascendingbrokenchord
pattern.InthetempothatRachmaninoffprescribes,itisimportantthatthepianist
voicethetopnotesoftheoctavelineswhileplayingthedescendingchordswith
quickandlightwristmotionswithoverallhorizontalmovementsofthearm.Itisof
coursenecessarytousethedamperpedaltobothsustainthehalfnotesintheleft
hand,andtoalsosupporttherapidcrescendo,asinm.64.Inmeasure63,thepianist
shouldapplyacircularmotionofthearmandwristrotationmotiononmeasure64
toensureproperweighttransfertoandvoicingofthestemmedtenutonotesthat
arepartoftherapidsixteenthnotebrokenchordfiguration(Example9).17
17Asimilarpassagewithdescendingchromaticchordsinoctaveshappensagaininmeasure157althoughthistimelefthandfollowsthedescendinglineinchromaticdescendingintervalsaswell.
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Example9.Rachmaninoff1stmvt,mm61–64.
Forpianistswhosehandshavedifficultyspanningtheintervalofa10th,the
shortsectionfrommm.73-80(seeExample10abelow)anditscounterpartinthe
recapitulationcanbeuncomfortable(although,asweknow,Rachmaninoff’shands
wereverylargeandthisposednoproblemforhim).Notethatthecomposer
complicatesthelifeoftheperformerwithsmallhandsbyplacingathirdnotein
betweenthewideinterval,atypicalcharacteristicofhiskeyboardmusicingeneral.
Toavoidbreakingthechordinperformance,ifthehandpermitsitishelpfultoplace
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moreweightonthetopnoteswhilestretchingasmuchaspossible.Itmaybe
necessarytoexperimentwithdifferentpositionsofthehandonthekeyboard,
movingintothefallboardovertheblackkeys,ormovingouttotheedgeofthewhite
keys.TheE-flatmajorchordinmeasure361(seeExample10bbelow)is
particularlychallenging,andbreakingthechordmightbetheonlysolutionforsome
handspans.
Example10a.1stmvt,mm73-76.
Example10b.1stmvt,mm361–363.
Theuseofrapidlymovingfour-notechordsoftheoctave,alsoa
characteristicthatRachmaninoffdisplayedthroughouthiscareer,isabundantin
thistrio.Aparticularlydifficultpassage,especiallyforthelefthand,isthesequence
ofchordsinmm.100–102(seeExample11below)andthecompanionpassagein
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therecapitulationbeginninginm.388.Theperformermustperformthissomewhat
awkwardpassageatafasttempoandwithgreatstrength.Toguidethephrase
effectively,caremustbetakentovoicethetopnotesofeachchord,usinghandand
armmotionsthatallowtheweighttosettleonthedownbeats.Inordertoreachthe
chordssecurelyandsafely,itmayalsobenecessarytoeithermovethehandin
towardsthefallboard,orouttotheedgeofthekeys.Theuseofthedamperpedal
willaidinproducingasolidfortissimo.
Example11.1stmvt,mm100–102.
Apassageofalmosttranscendentalbeautybeginsinmeasure131ofthe
exposition(appearingagainintherecapitulation).Duringthispassage,theright
wristmustadoptasomewhatelevatedposition,allowingthehandtomovefreely
throughtheascendingsixteenth-notebrokenchords,voicingcarefullythestemmed
melodynotes,allwhileavoidingweighttransfertothethumb.Applyingacircular
motionofthearmorientedaroundthemelodywillhelpinproducingthelight,
“celestial”soundqualitythispassagerequires(seeExample12below).
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Example12.1stmvt,mm131–132.
Perhapsthemosttechnicallychallengingmomentsforthepianistinthefirst
movementbeginatthe“Allegromolto”inmeasure238.Inthisvirtuosicpassage,
notethatinm.238thelefthandmovesindescendingchromaticoctaveswithsimple
chordsintherighthand.Onemeasurelatertherighthandplaysarapidascending
lineintripletsmademoredifficultbytheuseofdoublenotesonthebeat.Seemingly
unsatisfiedwiththedegreeofdifficulty,Rachmaninoffwritesasequenceof
sixteenthnotesfeaturingbrokenthirdsandaugmentedsecondsthataccompanya
chromaticuppervoice–allintherighthand.Inperformanceitisimportanttokeep
thehandclosetothekeysatalltimesinthissection,applyingsmall,quickand
precisemovementsinadditiontoacirculararmmotiononthetriplets.Althoughthe
composermarksthepassagefortissimo,afirmbutlightoctavetechniqueis
necessaryduetotherapidtempo.Otherwise,fatiguecouldresult.Tosecurethe
necessarydexterityinthepassageworkfeaturingbrokenthirdsandseconds,itmay
againbenecessaryforthepianisttomovethehandintowardsthefallboardorout
towardsthekeyedgeswhilesustainingthelongnotes.Asisoftenthecaseinthis
piece,theuseofthedamperpedalwillhelpinachievingthedesiredlargesonority
(seeExamples13aand13bbelow).
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Example13a.1stmvt,mm238–241.
Example13b.1stmvt,mm242–245.
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Thepassagebeginninginmeasure268marksperhapsthedramaticclimaxof
thefirstmovement.Itistheonlyinstanceduringtheentireworkwhere
Rachmaninoffemploysthesfffdynamicmark(seeExample14a).Thepassage
featuresblockchordtexturessetinrapid,virtuosicalternating-handstremolo
technique,similartoapassageintheTchaikovskytriocitedearlierandalsotoa
passageinTchaikovsky’sfirstpianoconcerto(seeExamples14band14c).Once
againthedamperpedalwillhelpwiththetriplefortedynamic.Thelefthandshould
guidethephraseandbothhandsshouldvoicethetopnotesineachchord.When
movingfromchordtochord,thehandsshouldgripthenotesfirmlywhileapplying
light,shortwriststrokes,maintainingasmuchkeycontactaspossible.Asindicated
inExample14b,inperformancetheauthoraddsadditionalcrescendomarksthat
suggestamorespecificphraseshapeinthislengthyandloudpassage.
Example14a.RachmaninoffTriofirstmvt.,mm276-277.
Example14b.RachmaninoffTriofirstmvt,mm268–269.
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Example14c.TchaikovskyPianoConcertoOp23firstmvt,mm239-239.
SecondMovement–Quasivariazione
Thesecondmovementiscomprisedofathemeandeightvariations.The
themeisadaptedfromhissymphonicpoemTheRock,butwithoutitschromatic
nuances(seeExamples15aand15b).Itispresentedinasimple,pastoralchorale-
likesettingmuchlikethethemetothesecondmovementinTchaikovsky’strio.This
movementprojectsamorehopefultone,withmomentsoflightnessandtenderness,
afterthedarknessandintensityofthefirstmovement.
Example15a.RachmaninoffElegiaquetriosecondmovementtheme,mm.1-2.
Example15b.Rachmaninoff,TheRockOpus7,mm.39–40,themeasplayedbythe
flute.
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Inthismovement,wewillcallattentiontofivevariationsthatpose
significanttechnicalchallengesforthepianist.18Invariation1,therighthand
figurationrequirestheuseofcirculararmmovementsaswellaslightlyweighted
highthumbpositionssoastoavoidinappropriateaccentsandunevenness
(Example16a).Inthesecondhalf,Rachmaninoffaddsaninnermelodyplayedbythe
right-handthumb(Example16b).Althoughisnecessarytobringoutthismelody
withthethumb,thecirculararmmovementisstillarequirementtobeableto
performtherapidsixteenthnoteswithoutabreakintheflow.
Example16a.RachmaninoffTriosecondmovement,variation1,mm.1-4.
Example16b.Rachmaninoff2ndmvt.var.1,mm33-34.
18Asamatterofconvenience,notethattheauthorhaschosentogiveeachvariationitsownsetofmeasuresnumber.
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Invariation3,agilityandaccuracyarenecessary,andtheperformershould
playthepassagewithalowwrist,closefingercontactwiththekeysandsmallarm
movements(Example17a).Inmeasure14,notethatthelefthandjoinstheright
handattheoctave,posingdifficultiesinfindingbalanceandevennessbetweenthe
hands.Itishelpfultoadoptafingering,assuggestedinExample17b,thatwillallow
thethumbstolandtogetherinmeasure15,therebyensuringbettercoordinationof
thehandsduringthispassage.NoteRachmaninoff’soriginalfingeringinExample
17c.
Example17a.2ndmvt.var.3,mm–1-3.
Example17b.2ndmvt.var.3,authorfingering,mm14–17.
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Example17c.2ndmvt.var.3,Rachmaninofffingering,mm14–15.
Inthepolyphonicpassageinthesecondhalfofvariation5,notethatinthe
righthandthemelodyinthetopvoiceiscombinedwithasecondvoiceunderneath
featuringrapidchromaticscaleruns.Inperformance,anelevatedwristwillhelp
balancetheweightneededtoproject“singing”topnotesandthenecessarylightness
inthechromaticsixteenth-notesextuplets.Again,itisimportanttoavoidusinga
“heavythumb”,whichwouldmaketherunsuneven(seeExample18below).
Example18.2ndmvt.var.5,mm27-28.
Variation6featuresatexturethatisoneofRachmaninoff’strademark
characteristics.Here,inanotherpolyphonicpassage,therighthandplaysbotha
melodyinthetopvoice,andanaccompanyingpatternunderneath,primarilyin
tripleteighthnotes.NotethathehademployedthistextureearlierinthefamousC-
sharpMinorPrelude,Op.3,No.2(seeExample19a).Inperformanceofthetrio,the
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righthandshouldemploysmallcircularmovementsandremainclosetothekeys.
Thisisnecessaryinordertoprojectasingingmelodywhilemaintainingalight
qualitytothetriplets,allthewhilemaintaininganunbrokenflow(Example19b).
Example19a.RachmaninoffPreludeOp3no.2,mm30–31.
Example19b.Rachmaninofftrio2ndmvt.var.6,mm1-4.
Variation8posesalessobviousdifficultythatmightbeneglectedatfirst
glance.Beginninginmeasure13ofthisvariation,thepianistmustdecidewhento
starttherolledchords,whichbeginonthebottomnoteofthelefthandandfinish
withthetopnoteintheright,inorderforthetopnoteofthechordtosound
togetherwiththestringpartsonthedownbeats.AsshowninExample20a,
Rachmaninofffirstwritesafive-notechordinthelefthand(m.20),butexpandstoa
seven-notechordinthenextmeasure,eachspanningmoredistancethanthehand
canreach.Sincecomparedtotherighthandthelefthandchordscontainsucha
largespan,itisnecessarytorolltherighthandmorequicklytomakeupforthe
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extratimerequiredtoplaythelefthandnotes.Pedalchangesshouldcorrespondto
thebassnotes.
Example20a.Rachmaninoff2ndmvt.var.8,mm20–22.
Thetexturechangeslaterinthevariation,asshowninExample20b.Theleft
handcontinuestoplayrolledchordswithawidespan,whiletherighthandplaysa
brokenchordtripletpatternindoublenotes.Tocoordinatewiththisnewrighthand
figuration,itisnownecessarytoplaythebottomnoteofthelefthandrolledchord
onthedownbeat,notbeforethebeatasinExample20a.Thisallowstherighthand
tomaintaintempoandclearsoutanyharmonicresonancesfromtheprevious
measure.
Example20b.Rachmaninoff2ndmvt.var.8,mm33–35.
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ThirdMovement–Allegrorisoluto
Thethirdmovementistheshortest,isintenseandpassionate,anddemands
muchstrengthandendurancefromthepianist.Itfunctionslikeacodawithmaterial
fromthefirstmovementbeingrecalled.Theintenseandsombertoneofthefirst
movement,aswellasitsflashesofanger,returninthisfinalmovement.Notethatas
showninExample21theopeningthemeofthefirstmovementisrecalledinaheavy
block-chordtexture,asifthesadnessportrayedatthebeginningshouldnowbe
heardmoreemphatically.
Example21.RachmaninoffTrio,thirdmovement,mm105–108.
Themovementopenswithacadenza-likepianosolothatlastsfortwenty-
fourmeasures,requiringsolidoctavetechniqueandalsosolidcontrolofthechords
thatoftenfollowawkwardleaps.Toensuresuccessinperformance,theauthor
suggeststhattheleapsbeapproachedwithprecise,well-plannedmotionsthatcan
helppreventrushingthetempo.Thepianistshouldalsofindwaystoshapethe
phraseandoccasionallybackoffthevolume,therebyavoidinganoverwhelmingly
heavysonoritywhilealsoguardingagainstfatigueinthearmmuscles.
Rachmaninoffindicatesspecificarticulationsthatcanhelpthepianistshapeand
colorthepassage,whilealsoprovidingspecificmomentsformusclerelaxation.The
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mainmotiveofthismovementisbasedonthedescendingchromaticlinepresented
inthefirstmovement(seeExample22).
Example22.Rachmaninoff3rdmvt.,mm1-4.
Rachmaninoffintroducesnewmaterialbeginninginmeasure36.Herethe
pianistmustcontrolfullchordsandoctaves,syncopatedrhythms,accentsand
phrasing,andcontrastingdynamics–allatafairlyrapidtempo.Thehandsshould
remainclosetothekeys,usingcrispattacksonthechordswhilekeepingasteady
tempo(seeExample23below).
Example23.Rachmaninoff3rdmvt.,mm36–39.
Thecanonicsectionbetweenthestringsandthepianist’slefthandline,
whichbeginsinmeasure68,developsthemovement’sopeningmotive,andperhaps
displaystheinfluenceofTaneyev’scounterpointclassesontheyoungRachmaninoff.
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Inthispassage,therighthandprovidesacontrastingchromaticlineinitstopvoice
whilesupportedunderneathbybroken-chord,sixteenth-notetripletfiguration.To
helpinclarifyingfingeringandnoteaccuracy,theauthorsuggestspracticingthe
passageasshowninExample24a.Tofurtherensuresuccessinperformanceofthis
passage,itishelpfultokeepthehandsclosetothekeyswhileconcentratingon
horizontalarmmovements(seeExample24b).
Example24a.Rachmaninoff3rdmvt.Chordalexerciseonpianopart,mm68–69.
Example24b.Rachmaninoff3rdmvt.,mm68–69.
Beginninginmeasure86,Rachmaninoffwritesapassagefeaturingvirtuosic
alternating-handstremolotechniquethatisstrikinglysimilartoapassagefoundin
Tchaikovsky’sPianoConcerto,Op.23.Inbothpieces,thelefthandshouldleadthe
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phrase.Therighthandoctavesshouldbeplayedwithafirmhandpositionandshort
wristmovements(seeExamples25aand25bbelow).
Example25a.TchaikovskyPianoConcertoOp23firstmvt,mm160–161.
Example25b.RachmaninoffTriothirdmvt,mm86-87.
ApowerfulandclimacticpassagebeginsattheMenoMossoinmeasure89.
Thethreeinstrumentsplaythemelodyinunisonatfffdynamic.Inthepiano,the
presentationofthemelodyinoctavescombinedwiththeheavyrepeatedchords
demonstrateatexturesimilartothatfoundinRachmaninoff’sfamousPreludeinG
Minor,Op.23,No.5.Inthealmostbolero-likepassagefromtheprelude(see
Example26a)aswellasthetrio(Example26b),strengthmustcomefromthe
shoulders,armsandback.Theelbowsshouldliftupandoutinordertoland
accuratelyonthenotesthatfollowwideleaps.
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Example26a.RachmaninoffPreludeOp23no.5inGminor,mm63-65.
Example26b.RachmaninoffTriothirdmvt,mm88-90.
Thepassagecitedbelow,althoughitpresentsnonewthematicmaterial,does
projectadistinctiveideainpianosound.Inmeasures103-104,thepowerfulchords
andoctavesplayedintheinstrument’slowestregistersoundalmostlikethunder
andindividualpitchescan’tbediscerned.Thisblusterypassage,conveyingrageand
fury,precedesthefinalrestatementoftheopeningthemefromthefirstmovement.
Example27.Rachmaninoff3rdmvt,mm102–104.
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CHAPTERFOUR:CONCLUSION
“A la memoire d’un grand artiste” The Trio Elegiaque, Op. 9, is a powerful, sorrowfulandintenselyemotional
work,writtenduringadarkmomentinRachmaninoff’spersonallife. Atthesame
timehowever,hewasbeginningtoachievecareersuccess,inpartduetothe
contributionsandencouragementofTchaikovsky.Indedicatinghistriotohis
mentorandfriend,RachmaninoffusedthesamephrasethatTchaikovskyused
earlierwhendedicatinghisworktoNicholasRubinstein:“Alamemoired’ungrand
Artiste”.Asdiscussedearlierinthisdocument,Tchaikovskyinfluenced
Rachmaninoffbothasamentor,andalsoasacomposer. TheTchaikovskytriowas,
ofcourse,adirectinfluenceonRachmaninoff’swork. Itisclearalsothattechniques
Rachmaninoffusedinsomeofhisearlierworks–suchasthefamousC-sharpMinor
prelude–wererefinedinthetrio,andsometechniquesusedinthetriowere
revisitedinlaterworks–suchasthefamousGMinorprelude.Itcanbesaidthatthe
trioisinsomewaysasummaryoftechniquesandtrademarksthatheused
throughouthislife. Thetrioalsoconfirmstheinfluenceofhisotherteachers,suchas
TaneyevincounterpointbutparticularlyZverev,withwhomheacquiredthe
necessarykeyboardtechniquetosupporthisownideasforcomposingpianomusic.
ThetrioportraysvariousstagesofRachmaninoff’sgriefoverTchaikovsky’sdeath.
Thefirstmovementrepresentsmourning,sadnessandisolation;thesecond
movementconveysacceptanceandfeelingsofhopecombinedwithvividmemories;
thethirdmovementconveysasenseofanger,attimesfiercelypresented.His
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thoroughtrainingallowedhimtochannelhismusicalideaseffectivelyinexpressing
hisunfortunatepersonalloss.
Themaingoalofthisdocumenthasbeentoprovidethepianistwitha
detailedviewofthetechnicalchallenges,andtoprovideappropriate
recommendationstohelpensureasuccessfulperformance.Asnotedinthe
foregoingexamples,thepianistfacesalargevarietyofchallengingtechnicalfeatures
inperformingthispiece,allofwhicharetypicaloflatenineteenthcenturypiano
music.Tosummarize,inordertoperformitsuccessfully,thepianistmustpossess
thenecessarytechnicalresourcestonegotiatethefollowing:
1) rapidpassagesoffour-noteoctavechords
2) rapidbroken-chordfiguration
3) virtuosicoctavepatterns
4) doublenotes
5) wideleaps(someinawkwardpositions)
6) brokenthirdsandaugmentedsecondsaccompanyingachromaticupper
voice
7) virtuosicalternating-handtremolos
8) rapidsinglenotepassagework
9) challengingpolyphonictextures
10) widelyspacedrolledchordsthatexceedthereachofthehand
11) heavychordalsonorities
12) keyboardcadenzasresemblingconcertopassages
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Specificrecommendationsforusingproperbodymovementshaveincludedthe
followingconsiderations:
1) frequentuseofcircularhandandarmmovements
2) useofanelevatedwristandarminspecificsituations
3) attentiontoproperweighttransfer
4) horizontalarmmovementsinkeysituations
5) movementsintowardsthefallboardorouttotheedgeofthekeysforbest
handposition
6) lightlyweighted,highthumbpositions
7) properfollowthroughofelbowandupperarmwhenplayinglargechords
8) keepinghandsasclosetothekeysaspossible
9) useofshoulder,armandbackmusclesforstrength
Inconclusion,theTrioElegiaque,Op.9shouldbeconsideredanimportant
workinthechambermusicrepertory,attractiveforitspassionateemotional
content,andnoteworthyforthegreattechnicaldemandsitplacesonthepianist.
Therefore,theauthorhopesthisdocumentwillencouragemorescholarlyinterest
amongresearchers,andwillinspiremoreperformerstoprogramthisbeautifuland
emotionalworkinconcert.
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REFERENCELIST
Abraham,Gerald.1946.TheMusicofTchaikovsky.NewYork:W.W.Nortonand
Company.Bertensson,Sergei,andJayLeyda.1965.SergeiRachmaninoffALifetimeinMusic.
London:AllenandUnwin.Cohn,Arthur.1997.TheLiteratureofChamberMusic.ChapelHill,N.C.:Hinshaw
Music.CunninghamRobert.2001.SergeyRachmaninoffABio-Bibliography.London:
GreenwoodPress.Duckett,RickyDavid.“Studyofthetwo‘trioselegiaques’ofSergeiRachmaninoff.”
D.M.A.diss.,UniversityofMiami,1998.Gaydamovich,Tat’yana.“Russkoyefortepiannoyetrio:IstoriyaganraVoprosi
interpretatsii[TheRussianPianoTrio:HistoryoftheGenreQuestionsofInterpretation].”Ph.D.diss.,MGK,1993.
Harrison,Max.2005.RachmaninoffLife,Works,Recordings.London;NewYork:
Continuum.Norris,Geoffrey.1994.Rachmaninoff.London:SchirmerBooks.Palmieri,Robert.1985.SergeiVasil’EvichRachmaninoff:AGuidetoResearch.New
YorkandLondon:GarlandPub.Rachmaninoff,Sergei.[n.d.]Album.London:Bosworth.
Rachmaninoff,Sergei.[n.d.]Preludesopus23no.5.Leipzig:BreitkopfandHaertel.Rachmaninoff,Sergei.[n.d.]TheRock,opus7.Moscow:Muzgiz.Rachmaninoff,Sergei.[n.d.]Trioelegiaqueindminor,opus9.NewYork:Kalmus.Seroff,Victor.1950.Rachmaninoff.NewYork:SimonandSchuster.Tchaikovsky,PeterIlich.[n.d]ConcertoNo.1inBflatminoropus23.New
York/London:G.Schirmer.Tchaikovsky,PeterIlich.[n.d]Trioinaminor,opus50.London:Breitkopfand
Haertel.
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Threlfall,Robert,andGeoffreyNorris.1982.ACatalogueofthecompositionofS.
Rachmaninoff.London:ScholarPress.Turabian,Kate.2010.AManualforWritersofResearchPapers,Theses,and
Dissertations.ChicagoandLondon:TheUniversityofChicagoPress.Walker,Robert.1980.Rachmaninoffhislifeandtimes.Kent:MidasBooks.Wehrmeyer,Andreas.2004.Rakhmaninov.London:Haus.
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VITA
PianistElisaGaleanowasborninBrazilandbegunplayingthepianoand
violininherchildhood.ShepursuedherBachelor’sdegreeinpianoperformanceat
theFederalUniversityofMinasGerais.Asagraduatestudent,ElisamovedtoEurope
andreceivedanawardfromtheRotaryClubinGermanytopursueherMaster’s
degreeattheacclaimedStateCollegeofMusicinthecityofKarlsruhe.Shefinished
herdegreeSumaCumLaudeinpianoperformance.In2012,Elisabegunherstudies
attheLouisianaStateUniversityinthepianoperformancedoctoralprogramand
sheisexpectedtoconcludeherdegreeinDecember2016.Throughoutheracademic
years,shehadtheprivilegetostudywithpianistsAndréPires,CelinaSzrvinsk,
MichaelUhde,JanGrimes,andWillisDelony.
AfterwinningseveralpianocompetitionsinBrazilandLatinAmerica,Elisa
wasinvitedtoperformattheMusikhoschuleKarlsruhe,incelebrationofBrazil’s
500hundred-yearJubileeplayingworksexclusivelybyBraziliancomposers.The
concertreceivedthefollowingcritiqueintheGermannewspaperBadischeZeitung:
“TheToccatabyRonaldoMiranda,playedbythepianistElisaGalleano,hadan
extraordinaryeffectintheaudience.Elisalettheworkshineinitssplendorof
colors.”SincereturningfromEurope,shehasbeenperformingaroundthecountry
andabroadrecitalsintheRioFolleJournéeMozartàFrancesa,RiodeJaneiro;
InternationalConcertSeasoninSãoPaulo;ConcertSeriesintheCasaThomas
Jefferson,Brasília-DF;Sommer-AkademieLenkFestival,Switzerland;andmany
performancesbroadcastedinBraziliantelevision.
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Asacollaborativepianist,ElisaworkedattheMinasGeraisStateUniversity
andFederalUniversityofSaoJoaodelReiinBrazil.Currently,ElisaistheArtistic
DirectorandpianoinstructoratGraceNotesMusicStudioinBatonRouge,
Louisiana.