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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.

37

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.