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Title of the article: Rachmaninov and Music Moscow: 1880–90-ies
Author(s): VALKOVA V. B.
Section: Art theory and history
Year: 2015
Issue: № 4, (38)
Pages: 182-205
Index UDK: 78.03
Index BBK: 85.313(2)
Abstract: The decisive role of Moscow in the artistic fate of Rachmaninov is especially clearly seen in his early years — the period of study and first experiments, i.e., in 1880-90-ies. In this period Moscow in many ways is ahead, making it a more tangible competition to St. Petersburg. Rachmaninoff's creative individuality is formed under the direct influence of changes taking place in the musical life of Moscow. The heyday of the Moscow Conservatory defines the first success of a young musician, «new direction» in Russian sacred music emerging in Moscow finds a direct reflection in the composer's style. A wide interest in the work of composers in St. Petersburg «new Russian school», first emerged in Moscow, caused Rachmaninoff’s desire to master and «assign» the achievements of this school, combining them with pure Moscow's musical traditions for the first time in the history of Russian music. Moscow special fondness for Gypsy music, and first deep interest of Moscow musicians in the music of Richard Wagner are reflected in Rachmaninoff’s music. Early works by Rachmaninoff, in their turn, highlight several paradoxes inherent in the Moscow musical traditions in the second half of the nineteenth century. The main one is the paradox of the connection of the center role and the periphery of Russian musical culture. It is this paradox, creating special internal tension, that provided a powerful breakthrough in the development of music in Moscow and the nomination of Moscow musicians (especially Rachmaninoff and Scriabin) at the central position in the culture of the Silver age.
Keywords: Moscow, Sergey Rachmaninoff, Russian musical culture, Moscow Conservatory, «a new direction» in Russian sacred music, R. Wagner, Petersburg, the «Mighty handful», Gypsy songs, the paradoxes of the Moscow musical locus
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