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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
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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
RACHMANINOFF’STRIOELEGIAQUE,OP.9:APERFORMER’SGUIDE
ADissertation
SubmittedtotheGraduateFacultyoftheLouisianaStateUniversityand
AgriculturalandMechanicalCollegeinpartialfulfillmentofthe
requirementsforthedegreeofDoctorofMusicalArts
in
ThedepartmentofSchoolofMusicby
ElisaBragaGaleanoB.M.FederalUniversityofMinasGerais,2002M.MStateCollegeofMusicKarlsruhe,2006
December2016
ii
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.
iii
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
iv
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
v
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
vi
Example26b.RachmaninoffTriothirdmvt,mm88-90....................................................32
Example27.Rachmaninoff3rdmvt,mm102–104.............................................................32
vii
ABSTRACT
Thisdocumentandtheaccompanyinglecture/recitalperformanceaimtocall
moreattentiontothisintenseanddeeplyemotionalwork.Focuswillbeplacedon
thetechnicalchallengesinthepianopartwhilemakingrecommendationsforthe
performerwhenappropriate.Asbackground,anoverviewofRachmaninoff’searly
lifeandworkispresentedinordertoprovideaclearerunderstandingofwhatled
himtocomposethistrio.Ofparticularimportanceinthewritingofthispiecewas
thedirectinfluenceofPeterTchaikovsky’sTrio,Op50,whichwillalsofigure
prominentlyinthebackgrounddiscussion.
1
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.
2
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.
3
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.
4
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.
5
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).
6
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.
7
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.
8
Example1b,Rachmaninoff,TrioinDminor,mm.268-269.
NoteinExamples2aand2bhoweachcomposerallowsthestringstocarry
themelodywhilethepianosuppliesaccompanimentinascendingbrokenchord
textures.ThemoodinTchaikovskytrioatthispointismorevividandenergetic,
whileRachmaninoffprojectsamoremelancholiceffect,perhapsowingtothechoice
ofkey(Gminor).
Example2a.Tchaikovsky,mm.42-43.
9
Example2b.Rachmaninoff,mm.133-134.
InExamples3aand3b,notehowbothcomposersadoptthickchordalpiano
textures.IntheTchaikovskyexcerptthecellofollowsthepianowithasingleline
melodywhiletheviolinprovidesascale-likeflourish.Bycontrast,inthe
Rachmaninoffexcerptbothstringplayersprovidebriefrhythmiccommentsin
betweenthepiano’ssustainednotes.
Example3a.Tchaikovsky,mm.186-187.
10
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.
11
Example4b.Rachmaninoff,mm1-4.
Examples5aand5bdisplayhow,intherespectivefirstvariations,each
composeradoptsapianotexturefeaturingrunningsixteenthnotesasan
accompanimenttothecantabilestringlines.
Example5a.Tchaikovsky,var.1,mm.1-3.
Example5b.Rachmaninoff,var.1,mm.1-4.
12
Examples6aand6baretakenfromtherespectivethirdvariations,eachof
whichisascherzososettingfeaturingstringpizzicatochordsandfastpassagework
inthepiano,creatingawittyeffect.
Example6a.Tchaikovskyvar.3,mm1-3.
Example6b.Rachmaninoffvar.3,mm1-4.
TchaikovskyconcludeshistriowithafinalVariationefinaleecodaattheend
ofthesecondmovement.Rachmaninoffinsteadwritesaseparatethirdmovement,
13
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.
14
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.
15
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.
16
Example9.Rachmaninoff1stmvt,mm61–64.
Forpianistswhosehandshavedifficultyspanningtheintervalofa10th,the
shortsectionfrommm.73-80(seeExample10abelow)anditscounterpartinthe
recapitulationcanbeuncomfortable(although,asweknow,Rachmaninoff’shands
wereverylargeandthisposednoproblemforhim).Notethatthecomposer
complicatesthelifeoftheperformerwithsmallhandsbyplacingathirdnotein
betweenthewideinterval,atypicalcharacteristicofhiskeyboardmusicingeneral.
Toavoidbreakingthechordinperformance,ifthehandpermitsitishelpfultoplace
17
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
18
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).
19
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).
20
Example13a.1stmvt,mm238–241.
Example13b.1stmvt,mm242–245.
21
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.
22
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.
23
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.
24
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.
25
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
26
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
27
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.
28
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
29
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.
30
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
31
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.
32
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.
33
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
34
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
35
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.
36
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
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38
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.
39
Asacollaborativepianist,ElisaworkedattheMinasGeraisStateUniversity
andFederalUniversityofSaoJoaodelReiinBrazil.Currently,ElisaistheArtistic
DirectorandpianoinstructoratGraceNotesMusicStudioinBatonRouge,
Louisiana.