Searching for a Unified Style

Evgeniya Krivitskaya

Issue № 3 (783) │ 2023

Review

Searching for a Unified Style

This article is written in Russian. You can read it here.

References

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Senkov, S. E. “Specificity of Style and Problems of Interpretation of Piano Sonatas and Variations by S. V. Rachmaninoff.” Candidate (Art Criticism) Dissertation, Moscow : Tchaikovsky Moscow State Conservatory, 1991. (In Russ.)
Slonimsky, S. M. “The Last Romantic (About Rachmaninoff).” Svobodnyy dissonans. Ocherki o russkoy muzyke [Free Dissonance. Essays on Russian Music], St. Petersburg : Kompozitor, 2004, pp. 98–101. (In Russ.)
“Style.” Filosofsko-terminologicheskiy slovar’ [Philosophical and Terminological Dictionary], auth.-comp. A. F. Malyshevsky, Kaluga : Publishing Pedagogical Center “Grif,” 2004, p. 78. (In Russ.)
“Style.” Bol’shoy entsiklopedicheskiy slovar’ [Great Encyclopedic Dictionary], chief ed. A. M. Prokhorov, Moscow : Sovetskaya entsiklopediya, 1993, p. 1275 (In Russ.)
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DOI 10.34690/336

Author Evgeniya D. Krivitskaya

Affiliation Tchaikovsky Moscow State Conservatory, Moscow, Russia

Email ekrivitskaia@gmail.com

ORCID

0000-0002-6080-248

Abstract

The sesquicentenary of Rachmaninoff’s birth became an event of an all-Russian scale. For the first time, the anniversary of this composer was celebrated so widely in his homeland, with which he had a complicated relationship. At this stage, one can state the absolute recognition of Rachmaninoff as a Russian classic, that became the impetus for the appearance of a new scientific work dedicated to the composer’s style. The scientists of Moscow Conservatory set themselves an original task—to write a collective monograph, where Rachmaninoff’s style would be regarded from different, but not contradictory positions. Head of the Russian Music History Department I. A. Skvortsova (initor of this work) focused on the legitimacy of including Rachmaninoff in the modern era coordinate system and deployed convincing arguments. Vice-Rector for Research K. V. Zenkin set the task of showing stylistic allusions and designating Rachmaninoff’s dialogue with numerous predecessors. Members of the Russian Music History Department of Moscow Conservatory dedicate their research to the features of formation and pitch organization in Rachmaninoff’s music through the prism of the national folk-song tradition (T. A. Starostina), the composer’s style on the example of his piano concertos (N. D. Sviridovskaya), and religious compositions in the context of Orthodox church music singing canon (N. V. Guryeva), symphonic scores and their stylistic similarities (D. I. Topilin).

For citation

Krivitskaya, E. D. “Searching for a unified style. Review on the book “Rachmaninoff’s Style.” Muzykal’naya akademiya [Music Academy], no. 3, 2023, pp. 246–255, doi:10.34690/336. (In Russ.)

Published 24.06.2023

Approved 14.07.2023

Submitted 21.09.2023

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Searching for a Unified Style

Searching for a Unified Style

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