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166:. The premiere, however, was a disaster; Rachmaninoff listened to the cacophonous performance backstage to avoid getting humiliated by the audience and eventually left the hall when the piece finished. The symphony was brutally panned by critics, and apart from issues with the piece, the poor performance of the possibly drunk conductor,
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261:, with whom they had a good experience. Desperate, he agreed without hesitation. From January to April 1900, he visited him daily free of charge. Dahl restored Rachmaninoff's health and his confidence to compose. Himself a musician, Dahl engaged in lengthy conversations surrounding music with Rachmaninoff, and would repeat a
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82:, Rachmaninoff suffered a psychological breakdown and depression that prevented composition for three years. In 1899, he was supposed to perform the Second Piano Concerto in London, which he had not composed yet, and instead made a successful conducting debut. The success led to an invitation to return next year with his
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481:, murmured about the overperformance of the work in proportion to its worth, but complimented Rachmaninoff's playing, stating that, with the assistance of the orchestra, "he made it sound more interesting than it ever has before here". His last concert during the American tour was on 27 January 1910, performing the
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major chord. Then the second theme is heard played with a horn solo. The entrance of the piano reverts the key back into C minor, with triplet passages played over a mysterious theme played by the orchestra. Briefly, the piece transitions to a C major glissando in the piano, and is placid until drawn
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In this first section, while the melody is stated by the orchestra, the piano takes on the role of accompaniment, consisting of rapid oscillating arpeggios between both hands which contribute to the fullness and texture of the section's sound. The theme soon goes into a slightly lower register, where
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of his Second Piano
Concerto. With newfound enthusiasm for composition, he resumed working on them after returning to Russia, which for the rest of the summer and the autumn were being finished "quickly and easily", although the first movement caused him difficulties. He told his biographer Oscar von
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While the orchestra restates the first theme, the piano, that on the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as in the main theme, the arpeggios in the piano
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posits that the composition is "his most popular, most often performed and, arguably, the most perfect structurally. It sounds as if it wrote itself, so naturally does the music flow". Another article by John Ezard and David Ward calls it one of the "most often performed concertos in the repertoire.
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wrote of the concerto following the performance. England, however, had already heard the work twice prior to the London premiere, with performances by Siloti in
Birmingham and Manchester. Rachmaninoff—enhanced by success from repossessing the ability to compose again, coupled with no more financial
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seemed like an introduction to the second one. Frantic, he replied, writing that he concurred with his opinion and was pondering over the first movement. Regardless, it was an astounding success, and
Rachmaninoff enjoyed wild acclaim. Even Cui, who previously scolded his First Symphony, displayed
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The agitated and unstable development borrows motifs from both themes, changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The sound here, while focused on a particular tonality, has ideas of chromaticism. Two sequences of pianistic
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Before continuing composition, Rachmaninoff received financial aid from Siloti to tide him over for the next three years, securing his ability to compose without worrying about rent. By April 1901, while staying with
Goldenweiser, he finished the first movement of the concerto and subsequently
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in
December. Although the engagement guaranteed him a hefty fee, he was anxious that accepting it would show ingratitude towards Siloti. However, after seeking his help, Taneyev reassured Rachmaninoff that this did not offend Siloti. That was followed by concerts in both Vienna and Prague the
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Barrie Martyn formulates that
Rachmaninoff might have rudimentarily written or thought out the first movement prior to the rest and that, according to Goldenweiser, the first movement existed in multiple variants, and Rachmaninoff's indecisiveness to opt for one made him perform the concerto
373:'s baton in January 1902. In March, the same duo had a tremendously successful performance in Saint Petersburg; two days preceding this, the Rachmaninoff-Siloti duo performed back in Moscow, with the former conducting and the latter as soloist. May of the same year saw a performance at the
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27 October], again with him at the piano and Siloti conducting. Five days before the premiere, however, Rachmaninoff received a letter from Nikita
Morozov (his Conservatory colleague) pestering him regarding the structure of the concerto after receiving its score, commenting that the
241:, a peer from the same conservatory, wanted to play his new concerto at a Belyayev concert in Saint Petersburg, thinking its consummation was inevitable. Rachmaninoff, who had thoughts of composing it three years earlier, sent a letter to him stating that nothing had been penned so far.
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At the end of 1898, Rachmaninoff was invited to perform in London in April 1899, where he was expected to play his Second Piano
Concerto. However, he wrote to the London Philharmonic Society that he couldn't finish a second concerto due to illness. The society requested he play his
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Its emergence – in each year so far of the new century – as the
British classical listening public's favourite tune indicates Rachmaninov's position as perhaps the most popular mainstream composer of the last 70 years." In both 2023 and 2024, the piece was voted number one in the
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major, half above the tonic. However, after the ominous closing section ends it then builds up into a triumphant climax in C major from the beginning of the coda. The movement ends very triumphantly in the tonic major with the same four-note rhythm ending the
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emerged: "The direct expression of the work, the extraordinary precision and exactitude of
Rachmaninoff's playing, and even the strict economy of movement of arms and hands which he exercises, all contributed to the impression of completeness of performance."
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formula while the composer was half-asleep: "You will begin to write your concerto ... You will work with great facility ... The concerto will be of an excellent quality". Even though the results were not readily evident, they were still successful.
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No other concerto by Rachmaninoff was as popular with audiences and pianists alike as his Second Concerto; the musicologist Glen Carruthers attributes this popularity with "memorable melodies appear in each movement". Rachmaninoff's biographer
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2 December] at a concert arranged for the benefit of the Ladies' Charity Prison Committee. On the eve of the concert, Rachmaninoff caught a cold, prompting his friends and relatives to stuff him with remedies, filling him with an excess of
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for the debut stating that "The concerto is of uneven worth. The first movement is labored and has little marked character. It might have been written by any German, technically well-trained, who was acquainted with the music of Tchaikovsky".
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from 1897 to 1898. It provided income for the cash-strapped Rachmaninoff; he eventually left as it didn't allow time for other activities and due to the incompetence of the theater, which turned piano lessons into his main source of income.
223:, but he declined, dismissing it as a student piece. Instead, he offered to conduct one of his orchestral pieces, to which the society agreed, provided he also performed at the piano. He made a successful conducting debut, performing
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The original theme is repeated with various inversions of chords and lower arpeggios on the piano. The orchestra mainly plays very legato and sweet, however the flutes play staccato chords for most of the ending. After a climactic
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After that an extended and energetic development section is heard. The development is based on the first theme of the exposition. It maintains a very improvisational quality, as instruments take turns playing the stormy motifs.
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expressed dissatisfaction during rehearsal. Eventually, the symphony was scheduled to be premiered in March 1897. Before the due date, he was nervous but optimistic due to his prior successes, which included winning the
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The popularity of the Second Piano Concerto grew rapidly, developing global fame after its subsequent performances. Its international progress started with a performance in Germany, where Siloti played it with the
253:. However, his visit to the querulous author only increased his despondency, and he became so self-critical that he was rendered unable to compose. The Satins, anxious about his well-being, persuaded him to visit
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In the recapitulation, the first theme is truncated to only 8 bars on the tutti, because it was widely used in the development section. After the transition, the recapitulation's 2nd theme appears, this time in
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The last movement opens with a short orchestral introduction that modulates from E major (the key of the previous movement) to C minor, before a piano solo leads to the statement of the agitated first theme.
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Rachmaninoff initially remained aloof to the failure of his symphony, but upon reflection, suffered a psychological breakdown that stopped his compositional output for three years. He adopted a lifestyle of
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exuberance over the work in a letter from 1903. The piece established Rachmaninoff's fame as a concerto composer and is one of his most enduringly popular pieces. He dedicated it to Dahl for his treatment.
540:, Richard D. Saunders opined that the work is of a "songful quality, imbued with haunting melodies all tinged with sombre pathos and expressed with the graceful refinement characteristic of the composer".
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For the rest of the summer and autumn of 1899, Rachmaninoff's unproductiveness worsened his depression. A friend of the Satins (relatives of Rachmaninoff), in an attempt to revoke the depressed composer's
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characterized the concerto as "notable for its conciseness and for its lyrical themes, which are just sufficiently contrasted to ensure that they are not spoilt either by overabundance or overexposure."
1059:" pianistic figuration transition leads into a short series of authentic cadences, accompanied by both a crescendo and an accelerando; this then progresses into the gentle, lyrical second theme in
632:, with almost the entire episode being devoid of speech, and the audio almost entirely following the concertos soundtrack. The concerto has also inspired numerous songs, and is frequently used in
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article called the concerto a "somewhat catchpenny work though it had plenty of rather cheap glitter". Rachmaninoff's last performance of the Piano Concerto No. 2 was on 18 June 1942 with
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wrote: "it's been long since the walls of the Nobility Hall reverberated with such enthusiastic, storming applause as on that evening ... This work contains much poetry, beauty, warmth, rich
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figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the previous themes, climaxing towards a B
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in 1907, a similar objection emerged, where, in spite of winning the praise of the Parisian concertgoers, French critics considered the concerto to be more Germanic rather than Russian.
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it is carried on by the cello section, and then is joined by the violins and violas, soaring to a climactic C note. After the statement of the long first theme, a quick and virtuosic "
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invited him to return next year with a performance of the First Concerto. However, he promised to return with a newer and better one, although he did not perform it there until 1908.
98:, whom he visited daily from January to April 1900. Rachmaninoff dedicated the concerto to Dahl for successfully treating him by restoring his health and confidence in composition.
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with piano and strings together, the music starts to die away losing more instruments and focusing more on the piano over time, slowly descending to a finish with just the
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invited Rachmaninoff to live with him in Italy, where he sought his advice while studying the opera. During his stay, Rachmaninoff composed the love duet of his opera
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of the concerto, with the first movement causing him difficulties. Both movements of the unfinished concerto were first performed with him as soloist and his cousin
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figure. This opening piano figure was composed in 1891 as the opening of the Romance from Two Pieces For Six Hands. The main theme is initially introduced by the
506:, Rachmaninoff and his family escaped Russia, never to return, seeing the US as a haven for remedying his financial situation; they arrived there one day before
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following spring in 1903 under the same engagement. In late 1904, Rachmaninoff won the Glinka Awards, cash prizes established in Belyayev's will, receiving 500
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serve as an accompaniment. This is followed by a piano-solo which continues the first theme and leads into a descending chromatic passage to a pianississimo A
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2 December] 1900. The first movement was finished in 1901, and the complete work had an astoundingly successful premiere on 9 November [
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conducting; London would wait until 1908 for Rachmaninoff to perform it there. "One was quickly persuaded of its genuine excellence and originality",
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499:". Rachmaninoff played the concerto eight times during the tour. Despite the concerto's popularity, its critical reception has often remained poor.
193:", and if he were to compose a symphony like Mr Rachmaninoff's, then he would have fulfilled his task brilliantly and delighted the inmates of Hell.
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by the violins, violas, and first clarinet. The piano starts to play very low notes during the theme introduced by the strings and clarinet.
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consumed him, and although he rarely composed, he still engaged in performance, accepting a conducting position by the Russian entrepreneur
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begins with a series of chromatic bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main
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between June 1900 and April 1901. The piece established his fame as a concerto composer and is one of his most enduringly popular pieces.
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major. This theme maintains the motif of the first movement's second theme. The exposition ends with a suspenseful closing section in B
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3010:"Rachmaninov, Stephen Hough, Dallas Symphony Orchestra, Andrew Litton – Piano Concerto No 2 In C Minor, Piano Concerto No 3 In D Minor"
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Riesemann that "the material grew in bulk, and new musical ideas began to stir within me—far more than I needed for my concerto".
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making his conducting debut, it was an anxious event, but the concert was a great success, easing the worries of his close ones.
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After marrying his first cousin Natalia Satina, the newly-wed Rachmaninoff received an invitation to play his concerto with the
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Max Harrison notes that it is not certain whether there were one or two visits, as Rachmaninoff's accounts are inconsistent.
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Then the B section is heard. It builds up to a short climax centered on the piano, which leads to a cadenza for the piano.
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3190:"Rachmaninoff 150: Yuja Wang, Gustavo Dudamel and the Los Angeles Philharmonic Perform the Works for Piano and Orchestra"
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In 1901, Gutheil published the concerto along with the composer's two piano arrangement. Austrian violinist and composer
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If there were a conservatoire in Hell, if one of its talented students were instructed to write a programme symphony on "
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Gauldin, Robert (2004). "New Twists for Old Endings: Cadenza and Apotheosis in the Romantic Piano Concerto".
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After the original fast tempo and musical drama ends, a short transition from the piano solo leads to the
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Coolidge, Richard (1979). "Architectonic Technique and Innovation in the Rakhmaninov Piano Concertos".
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334:, healthy and buoyant creative power. Rachmaninoff's talent is evident throughout." The German company
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unfinished. Max Harrison states the opposite, namely that the last two movements were composed first.
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from January to September 1895. In 1896, after a long hiatus, the music publisher and philanthropist
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Another major factor was a deep-seated antipathy between composers from Moscow and Saint Petersburg.
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Carruthers, Glen (2006). "The (Re)Appraisal of Rachmaninov's Music: Contradictions and Fallacies".
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with his Russian Symphony Society, who farewelled the homesick Rachmaninoff with appraisal of his
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3870:. New York: Broude Brothers, Ltd. – via New York Philharmonic (Leon Levy Digital Archives).
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His debut with an American orchestra occurred on 8 November 1909, performing the concerto at the
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have roots in the concerto: "I Think of You", from the second theme of the first movement, and "
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The two finished movements were to be performed in the Moscow Nobility Hall on 15 December [
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The second movement opens with a series of slow chords in the strings which modulate from the
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for his concerto. Throughout his life, Rachmaninoff soloed the concerto a total of 143 times.
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An analysis of Rachmaninoff's Concerto No. 2 in C Minor opus 18: Aids towards performance
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149:. However, there were setbacks: complaints were raised about the symphony by his teacher
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Rachmaninov and His Pianoforte Concertos: A brief sketch of the composer and his style
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1479:'s 2006 arrangement uses thematic sections derived from each movement as grounds for
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premiered the full work at a Moscow Philharmonic Society concert on 9 November [
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3052:"Rachmaninov: Piano Concertos Nos 1 & 2, Andsnes/ Berlin Philharmonic/ Pappano"
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After he fulfilled his 1908 London concert engagement at the Queen's Hall under
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2870:"Rachmaninoff, Rubinstein/Reiner, Chicago Symphony Orchestra – Concerto No. 2"
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687:(in the first and third movements) and A (in the second and third movements)
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An advertisement for Rachmaninoff's debut with an American orchestra at the
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According to So-Ham Kim Chung, the illness was "severe mental depression".
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annual "Hall of Fame" poll, and has consistently ranked in the top three.
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worries—repaid the loan from Siloti within one year of receiving the last
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30:"Rachmaninoff 2" and "Rach 2" redirect here. For his second symphony, see
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From the summer to the autumn of 1900, he worked on the second and third
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3158:"Trifonov: Destination Rachmaninov. Departure review – peerless playing"
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upon receiving its score, which elicited revisions by Rachmaninoff, and
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made a concert transcription of the third movement for piano solo. The
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835: in this section. Unsourced material may be challenged and removed.
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462:. Critics since the first performance were chiefly dismissive, echoing
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At the beginning of the A section, the piano enters, playing a simple
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ends with an agitated closing section with scaling arpeggios on the E
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3132:"Khatia Buniatishvili – Rachmaninoff: Piano Concerto Nos 2&3 CD"
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Cited from Cui, CĂ©sar (1897) in "Novosti i birzhevaya gazeta", p. 3.
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transcribed the second movement for violin and piano in 1940, named
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Tall, David (1981). "Catalogue of Works". In Foreman, Lewis (ed.).
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620:(1946) features it heavily; this has further popularized the work.
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Score cover of the concerto arranged for 2 pianos by the composer
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but dismissal of the concerto as "not in any way comparable to
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Rachmaninoff: Piano Concerto No. 2; Gershwin: Rhapsody in Blue
3574:"Creativity and Mental Illness: Richard Kogan on Rachmaninoff"
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2939:"Rachmaninov: Piano Concertos No 1–4, Rhapsody / Wild, et al"
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2966:"Tchaikovsky & Rachmaninov: Piano concertos/Weissenberg"
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Concert Transcriptions of Favourite Concertos for piano solo
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Adagio sostenuto – Più animato – Tempo I (C minor → E major)
2844:"The best recordings of Rachmaninov's Piano Concerto No. 2"
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of the previous movement to the E major of this movement.
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Rachmaninoff's Recollections, Told to Oskar von Riesemann
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610:(1945) utilizes the music widely in its soundtrack, and
3084:"Wang, Temirkanov – Rachmaninov's Piano Concerto No. 2"
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In June 1900, after receiving an invitation to perform
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Concerto for piano and orchestra by Sergei Rachmaninoff
3823:. Vol. 1. Bloomington: Indiana University Press.
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The piece is written in three-movement concerto form:
4659:
3735:. London. 1902. p. 4 – via Newspapers.com.
2912:"Sergei Rachmaninov (1873–1943) Piano Concerto No. 2"
2691:
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2425:
2278:
2266:
2179:
2077:
1906:
1843:
1711:
1699:
1675:
1651:
4702:
United States National Recording Registry recordings
3753:. London: Hinrichsen Edition Limited. pp. 9–14.
3681:. Los Angeles. p. 4 – via Newspapers.com.
3248:
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2126:
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1966:
1930:
1819:
1783:
145:
agreed to include it at one of his Saint Petersburg
117:
27 October] 1901, again with the same duo.
3801:. Cambridge, New York: Cambridge University Press.
2618:"Rachmaninoff Performance Diary – Concerto Soloist"
2521:
2401:
2314:
2191:
2026:
1942:
1882:
1807:
1771:
1747:
1735:
1723:
3839:
3821:The Russian Piano Concerto: The nineteenth century
3794:
3724:
3550:
3527:
3501:
3478:
3455:
3391:
3304:
3281:
1566:
1202:and violas introducing a second lyrical theme in B
1164:is passed between the piano and then the strings.
514:praised a Rachmaninoff concerto performance under
3923:. New Haven & London: Yale University Press.
2674:
1116:into the coda based on the first subject, marked
510:, following their temporary stay in Scandinavia.
4683:
3025:"Rachmaninov: Piano concertos 1 & 2/Andsnes"
1494:", from the second theme of the third movement.
1014:Allegro scherzando (E major → C minor → C major)
181:Rachmaninoff in 1897, after the premiere of his
3275:
3206:
2554:
2479:
2455:
2383:
2212:
2173:
2149:
2020:
2008:
1960:
1924:
1864:
1669:
628:heavily utilized its soundtrack in the episode
442:, where he gave the US premiere of his concerto
305:and also began working on the second and third
543:
4001:
3375:. Santa Barbara: Greenwood Publishing Group.
229:and playing piano pieces such as his popular
4606:Music written in all major and/or minor keys
3979:of Rachmaninoff's Piano Concerto No. 2 from
3910:Rachmaninoff: Piano Concertos Nos. 2 & 3
3723:
2347:
3846:. Seattle: University of Washington Press.
3663:The Classical Jazz Quartet Play Rachmaninov
454:'s baton, including repeat performances in
269:
162:Great Gold Medal and earning the praise of
4008:
3994:
3704:
3685:
3623:"'Rocky 2' concerto tops poll of classics"
3434:Rachmaninoff: Composer, Pianist, Conductor
3370:
3347:
2721:
2709:
2656:
1837:
1182:
1120:, in which the movement ends in a C minor
359:
78:After the disastrous 1897 premiere of his
4122:
3972:International Music Score Library Project
3941:(1973). "Sergei Rachmaninoff 1873-1943".
3620:
3522:
3307:Fritz Kreisler: Love's Sorrow, Love's Joy
3302:
3284:Sergei Rachmaninoff – A Lifetime in Music
3218:
3110:Rachmaninoff: Piano Concerto No. 2, Op.18
2799:
2697:
2248:
2161:
1564:
1156:, before being developed by an extensive
895:Learn how and when to remove this message
450:with the Boston Symphony Orchestra under
3672:
3571:
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3389:
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3049:
2882:
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2056:
1996:
1900:
1876:
1825:
1801:
1765:
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1454:
1023:
844:"Piano Concerto No. 2" Rachmaninoff
600:(1955)—borrow themes from the concerto.
433:
273:
176:
38:
4479:
4015:
3867:Concerto, Piano, No. 2, C minor, Op. 18
3797:The Cambridge Companion to the Concerto
3660:
3373:Sergei Rachmaninoff: A Bio-bibliography
3325:
3288:. New York: New York University Press.
3254:
2787:
2644:
2515:
1597:. Despite that, the suite received the
1129:
14:
4692:Piano concertos by Sergei Rachmaninoff
4684:
3499:
3450:
3431:
3417:. Jefferson: McFarland & Company.
3064:from the original on 19 September 2015
2668:
2593:
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2296:
2284:
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2071:
2044:
1984:
1972:
1936:
1912:
1852:
1789:
1753:
1741:
1729:
1693:
1635:The transcription is catalogued under
1593:The concerto was published before his
980:Warsaw National Philharmonic Orchestra
121:published the concerto the same year.
3989:
3640:
3597:
3534:. New York: Oxford University Press.
3476:
3394:Rachmaninoff: Life, Works, Recordings
3268:
3031:from the original on 11 February 2021
2945:from the original on 26 February 2021
2830:
2685:
2527:
2407:
2323:
2200:
2032:
1948:
1888:
1813:
1777:
1681:
1657:
1625:§ Transcriptions and derivative works
3548:
3242:
3230:
3170:from the original on 21 January 2021
3156:Clements, Andrew (25 October 2018).
3050:Clements, Andrew (27 October 2005).
2918:from the original on 17 January 2020
2883:Villella, Frank (27 February 2013).
2850:from the original on 3 December 2020
2841:
1573:. New York: Macmillan. p. 112.
833:adding citations to reliable sources
804:
109:conducting on 15 December [
3884:. Portland, Oregon: Amadeus Press.
3462:. Oxford: Oxford University Press.
3022:
2963:
2936:
2909:
1502:" is based on the second movement.
1451:Transcriptions and derivative works
257:, a neurologist who specialized in
24:
3921:The Piano: A History in 100 Pieces
3741:
3675:"All-Russian Program Thrills Bowl"
3508:. New York: Simon & Schuster.
2842:Beek, Michael (28 November 2018).
994:Problems playing these files? See
909:
639:
415:
381:with the Philharmonic Society and
25:
18:Piano Concerto No. 2 (Rachmaninov)
4718:
3961:
3621:Ezard, John; Ward, David (2004).
3485:. Cheltenham: The History Press.
3398:. London: Bloomsbury Publishing.
4669:
4643:
4634:
4633:
4402:Variations on a Theme of Corelli
3679:Los Angeles Evening Citizen News
3616:from the original on 1 May 2021.
3530:The concerto: a listener's guide
3182:
3149:
3124:
3102:
3076:
3043:
3016:
3002:
2984:
2957:
2930:
2903:
2891:from the original on 17 May 2020
2876:
2862:
2805:
1629:
1191:
1141:
1047:
963:
944:
925:
809:
538:Los Angeles Evening Citizen News
281:(left) with Rachmaninoff (right)
4455:Morceau de Fantaisie in G minor
4365:Variations on a Theme of Chopin
4206:Rhapsody on a Theme of Paganini
4107:Piano Concerto No. 4 in G minor
4102:Piano Concerto No. 3 in D minor
4097:Piano Concerto No. 2 in C minor
3880:Roeder, Michael Thomas (1994).
3500:Seroff, Victor Ilyitch (1950).
3333:. University of Chicago Press.
3090:from the original on 1 May 2021
2972:from the original on 1 May 2021
2846:. Immediate Media Company Ltd.
2611:
1617:
1610:Following a performance at the
1604:
1587:
1557:
1547:
1538:
1529:
1520:
1511:
1241:Commercial recordings include:
820:needs additional citations for
536:. Reviewing the performance in
43:Rachmaninoff in the early 1900s
4601:Sergei Rachmaninoff recordings
4237:Liturgy of St. John Chrysostom
3706:"Classic FM Hall of Fame 2024"
3687:"Classic FM Hall of Fame 2023"
3371:Cunningham, Robert E. (2001).
1019:
202:to forget about his problems.
13:
1:
4370:Piano Sonata No. 1 in D minor
3673:Saunders, Richard D. (1942).
3557:. London: Thames Publishing.
1645:
1565:Riesemann, Oskar von (1934).
1404:conducted by Martin Panteleev
1402:Nordwestdeutsche Philharmonie
1279:Warsaw Philharmonic Orchestra
1236:
497:Rachmaninoff's third concerto
475:, who was a music critic for
448:Philadelphia Academy of Music
440:Philadelphia Academy of Music
377:in London, the soloist being
129:
32:Symphony No. 2 (Rachmaninoff)
3872:(Score contains markings by
3842:Rachmaninov Orchestral Music
3553:The Percy Grainger Companion
2992:"Discography: Evgeny Kissin"
1304:Royal Philharmonic Orchestra
800:
367:Leipzig Gewandhaus Orchestra
212:Moscow Private Russian Opera
7:
3726:"The London Correspondence"
3311:. Portland: Amadeus Press.
3207:Bertensson & Leyda 1956
2555:Bertensson & Leyda 1956
2480:Bertensson & Leyda 1956
2456:Bertensson & Leyda 1956
2384:Bertensson & Leyda 1956
2213:Bertensson & Leyda 1956
2174:Bertensson & Leyda 1956
2150:Bertensson & Leyda 1956
2021:Bertensson & Leyda 1956
2009:Bertensson & Leyda 1956
1961:Bertensson & Leyda 1956
1925:Bertensson & Leyda 1956
1865:Bertensson & Leyda 1956
1670:Bertensson & Leyda 1956
1083:major scale in both hands.
644:The concerto is scored for
544:Modern reception and legacy
10:
4723:
4580:Conservatoire Rachmaninoff
4314:Suite No. 2 for two pianos
4309:Suite No. 1 for two pianos
3598:Chung, So-Ham Kim (1988).
3572:Timoshin, Natalie (2016).
3331:Rachmaninoff and His World
3263:
1388:Verbier Festival Orchestra
1293:Chicago Symphony Orchestra
1265:Chicago Symphony Orchestra
338:published the concerto as
191:The Seven Plagues of Egypt
124:
29:
4629:
4593:
4572:
4336:
4273:
4222:
4154:Symphony No. 3 in A minor
4142:Symphony No. 2 in E minor
4137:Symphony No. 1 in D minor
4115:
4086:Piano Concerto No. 1 in F
4078:
4032:
4023:
3882:A History of the Concerto
3838:Piggott, Patrick (1974).
3504:Rachmaninoff: A Biography
2885:"Remembering Van Cliburn"
1360:Dallas Symphony Orchestra
1346:London Symphony Orchestra
1332:London Symphony Orchestra
1295:conducted by Fritz Reiner
1231:Third Concerto in D minor
424:, a flattering review by
233:. The society secretary,
147:Russian Symphony Concerts
4442:Piece (Canon) in D minor
3749:Anderson, W. R. (1947).
3710:halloffame.classicfm.com
3691:halloffame.classicfm.com
3590:
3436:. Aldershot: Routledge.
3413:Huckvale, David (2022).
1601:17, reversing the order.
1505:
1492:Full Moon and Empty Arms
1441:Los Angeles Philharmonic
530:Los Angeles Philharmonic
270:Composition and premiere
231:Prelude in C-sharp minor
164:Pyotr Ilyich Tchaikovsky
137:had been working on his
4707:Compositions in C minor
4383:Piano Sonata No. 2 in B
4304:Cello Sonata in G minor
3641:Hough, Stephen (2008).
3477:Scott, Michael (2007).
3432:Martyn, Barrie (2017).
3303:Biancolli, Amy (1998).
3121:, complete live concert
1183:III. Allegro scherzando
570:Numerous films—such as
487:and his concerto under
403:under the direction of
360:Subsequent performances
342:18 the following year.
155:Nikolai Rimsky-Korsakov
3908:Sanderson, Blair.
3898:Sanderson, Blair.
3390:Harrison, Max (2006).
3196:. Deutsche Grammophon.
2239:, pp. 31–32, 114.
1486:Two songs recorded by
1477:Classical Jazz Quartet
1460:
1427:Philadelphia Orchestra
1251:Philadelphia Orchestra
1033:
914:
443:
282:
239:Alexander Goldenweiser
195:
185:
44:
4585:Rachmaninoff (crater)
4345:Morceaux de fantaisie
3919:Tomes, Susan (2021).
3610:Ohio State University
2826:on 30 September 2017.
2698:Ezard & Ward 2004
1458:
1027:
959:3. Allegro scherzando
913:
617:I've Always Loved You
526:Vladimir Bakaleinikov
437:
277:
249:, suggested he visit
187:
180:
170:, was also to blame.
42:
4359:Six moments musicaux
4026:List of compositions
3968:Piano Concerto No. 2
3862:Rachmaninoff, Sergei
3661:Manheim, James.
3327:Bullock, Philip Ross
3276:Bertensson, Sergei;
3086:. Verbier Festival.
2812:Woodrow Crob, Gary.
1431:Yannick NĂ©zet-SĂ©guin
1409:Khatia Buniatishvili
1130:II. Adagio sostenuto
829:improve this article
379:Wassily Sapellnikoff
221:First Piano Concerto
90:meant to revoke his
84:First Piano Concerto
49:Piano Concerto No. 2
4461:Fughetta in F major
4448:Four Improvisations
4258:Three Russian Songs
4055:Francesca da Rimini
4017:Sergei Rachmaninoff
3194:Deutsche Grammophon
2557:, pp. 164–165.
2506:, pp. 118–119.
2299:, pp. 125–126.
1471:(Prayer). In 1946,
1374:Berlin Philharmonic
1322:Herbert von Karajan
1318:Berlin Philharmonic
1247:Sergei Rachmaninoff
940:2. Adagio sostenuto
597:The Seven Year Itch
558:on an article with
502:Following the 1917
401:Vienna Philharmonic
302:Francesca da Rimini
160:Moscow Conservatory
135:Sergei Rachmaninoff
73:Sergei Rachmaninoff
4560:Prelude in F major
4167:Scherzo in D minor
4048:The Miserly Knight
3643:"Five of the best"
3524:Steinberg, Michael
3269:Books and journals
3027:. Classics Today.
2968:. Classics Today.
1623:For examples, see
1481:jazz improvisation
1461:
1413:Czech Philharmonic
1328:Vladimir Ashkenazy
1314:Alexis Weissenberg
1283:Stanisław Wisłocki
1275:Sviatoslav Richter
1034:
1008:Moderato (C minor)
984:Stanisław Wisłocki
976:Sviatoslav Richter
915:
604:'s romantic drama
504:October Revolution
478:The New York Times
444:
422:Serge Koussevitzky
283:
186:
168:Alexander Glazunov
45:
4697:1901 compositions
4657:
4656:
4568:
4567:
4352:Morceaux de salon
4282:Morceaux de salon
4162:
4161:
3930:978-0-300-26286-5
3891:978-0-931340-61-1
3874:Leonard Bernstein
3853:978-0-295-95308-3
3830:978-0-253-34112-9
3808:978-0-521-83483-4
3578:Psychiatric Times
3564:978-0-905210-12-4
3541:978-0-19-510330-4
3515:978-0-836-98034-9
3492:978-0-7524-7242-3
3469:978-0-198-16488-3
3443:978-0-859-67809-4
3424:978-1-4766-4388-5
3415:The Piano on Film
3405:978-0-826-49312-5
3382:978-0-313-30907-6
3351:The Musical Times
3340:978-0-226-82374-4
3318:978-1-57467-037-0
3295:978-0-253-21421-8
2763:, pp. 48–49.
2596:, pp. 52–54.
2374:, pp. 34–35.
2348:The Guardian 1902
2338:, pp. 94–95.
2215:, pp. 95–96.
2176:, pp. 94–95.
2059:, pp. 89–90.
2047:, pp. 74–75.
2023:, pp. 89–90.
1999:, pp. 88–89.
1987:, pp. 71–72.
1903:, pp. 87–88.
1867:, pp. 80–82.
1696:, pp. 94–96.
1684:, pp. 46–48.
1660:, pp. 44–45.
1580:978-0-83695-232-2
1308:Jascha Horenstein
1261:Arthur Rubinstein
1255:Leopold Stokowski
969:
950:
931:
905:
904:
897:
879:
729:(2 tenor, 1 bass)
512:Reginald De Koven
489:Modest Altschuler
143:Mitrofan Belyayev
16:(Redirected from
4714:
4674:
4673:
4672:
4665:
4647:
4637:
4636:
4555:Preludes, Op. 32
4498:Preludes, Op. 23
4492:
4491:
4477:
4476:
4426:Lento in D minor
4419:
4418:
4388:
4387:
4320:Russian Rhapsody
4213:Symphonic Dances
4199:Isle of the Dead
4192:Caprice bohémien
4178:Prince Rostislav
4172:Suite in D minor
4120:
4119:
4091:
4090:
4010:
4003:
3996:
3987:
3986:
3977:Free sheet music
3970:: Scores at the
3956:
3934:
3895:
3871:
3857:
3845:
3834:
3812:
3800:
3786:
3767:
3760:The Music Review
3754:
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3484:
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3461:
3452:Norris, Geoffrey
3447:
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2896:
2887:. CSO Archives.
2880:
2874:
2873:
2866:
2860:
2859:
2857:
2855:
2839:
2828:
2827:
2825:
2819:. Archived from
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1527:
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1515:
1498:'s 1975 ballad "
1370:Leif Ove Andsnes
1227:
1226:
1213:
1212:
1207:
1206:
1195:
1145:
1114:
1113:
1104:
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837:
813:
805:
722:
721:
686:
685:
630:A Quiet Night In
577:September Affair
572:William Dieterle
493:Isle of the Dead
484:Isle of the Dead
324:Alexander Siloti
297:Feodor Chaliapin
279:Alexander Siloti
235:Francesco Berger
107:Alexander Siloti
21:
4722:
4721:
4717:
4716:
4715:
4713:
4712:
4711:
4682:
4681:
4680:
4676:Classical music
4670:
4668:
4660:
4658:
4653:
4625:
4611:Ivanovka estate
4589:
4564:
4489:
4488:
4475:
4437:Three Nocturnes
4416:
4415:
4395:Études-Tableaux
4385:
4384:
4376:Études-Tableaux
4332:
4327:Polka Italienne
4269:
4230:All-Night Vigil
4218:
4158:
4111:
4088:
4087:
4074:
4028:
4019:
4014:
3964:
3959:
3937:
3931:
3918:
3892:
3879:
3860:
3854:
3837:
3831:
3815:
3809:
3791:Keefe, Simon P.
3789:
3777:. 18/19: 1–23.
3770:
3757:
3748:
3744:
3742:Further reading
3739:
3714:
3712:
3695:
3693:
3651:
3649:
3631:
3629:
3593:
3588:
3565:
3542:
3516:
3493:
3470:
3444:
3425:
3406:
3383:
3358:(1896): 44–50.
3341:
3319:
3296:
3271:
3266:
3261:
3253:
3249:
3241:
3237:
3229:
3225:
3217:
3213:
3205:
3201:
3188:
3187:
3183:
3173:
3171:
3154:
3150:
3140:
3138:
3130:
3129:
3125:
3109:
3107:
3103:
3093:
3091:
3082:
3081:
3077:
3067:
3065:
3048:
3044:
3034:
3032:
3021:
3017:
3008:
3007:
3003:
2990:
2989:
2985:
2975:
2973:
2962:
2958:
2948:
2946:
2935:
2931:
2921:
2919:
2908:
2904:
2894:
2892:
2881:
2877:
2868:
2867:
2863:
2853:
2851:
2840:
2831:
2823:
2816:
2810:
2806:
2798:
2794:
2786:
2779:
2771:
2767:
2759:
2755:
2747:
2740:
2732:
2728:
2722:Classic FM 2024
2720:
2716:
2710:Classic FM 2023
2708:
2704:
2696:
2692:
2684:
2675:
2667:
2663:
2657:Carruthers 2006
2655:
2651:
2643:
2639:
2631:
2627:
2616:
2612:
2604:
2600:
2592:
2588:
2580:
2576:
2568:
2561:
2553:
2549:
2541:
2534:
2526:
2522:
2514:
2510:
2502:
2498:
2490:
2486:
2478:
2474:
2466:
2462:
2454:
2450:
2442:
2438:
2430:
2426:
2418:
2414:
2406:
2402:
2394:
2390:
2382:
2378:
2370:
2366:
2358:
2354:
2346:
2342:
2334:
2330:
2322:
2315:
2307:
2303:
2295:
2291:
2283:
2279:
2271:
2267:
2259:
2255:
2247:
2243:
2235:
2231:
2223:
2219:
2211:
2207:
2199:
2192:
2184:
2180:
2172:
2168:
2160:
2156:
2148:
2139:
2131:
2127:
2119:
2110:
2102:
2095:
2087:
2078:
2070:
2063:
2055:
2051:
2043:
2039:
2031:
2027:
2019:
2015:
2007:
2003:
1995:
1991:
1983:
1979:
1971:
1967:
1959:
1955:
1947:
1943:
1935:
1931:
1923:
1919:
1911:
1907:
1899:
1895:
1887:
1883:
1875:
1871:
1863:
1859:
1851:
1844:
1838:Cunningham 2001
1836:
1832:
1824:
1820:
1812:
1808:
1800:
1796:
1788:
1784:
1776:
1772:
1764:
1760:
1752:
1748:
1740:
1736:
1728:
1724:
1716:
1712:
1704:
1700:
1692:
1688:
1680:
1676:
1668:
1664:
1656:
1652:
1648:
1643:
1634:
1630:
1622:
1618:
1609:
1605:
1592:
1588:
1581:
1562:
1558:
1552:
1548:
1543:
1539:
1534:
1530:
1525:
1521:
1516:
1512:
1508:
1453:
1445:Gustavo Dudamel
1423:Daniil Trifonov
1392:Yuri Temirkanov
1378:Antonio Pappano
1239:
1224:
1223:
1210:
1209:
1204:
1203:
1185:
1132:
1111:
1110:
1098:
1089:
1088:
1079:
1078:
1063:
1062:
1032:of the concerto
1022:
1017:
1001:
1000:
992:
990:
989:
988:
987:
972:
964:
961:
955:
954:
953:
945:
942:
936:
935:
934:
926:
923:
916:
910:
901:
890:
884:
881:
838:
836:
826:
814:
803:
798:
719:
718:
683:
682:
642:
640:Instrumentation
622:Steve Pemberton
607:Brief Encounter
551:Geoffrey Norris
546:
516:Walter Damrosch
473:Richard Aldrich
418:
416:Early reception
362:
272:
132:
127:
35:
28:
23:
22:
15:
12:
11:
5:
4720:
4710:
4709:
4704:
4699:
4694:
4679:
4678:
4655:
4654:
4652:
4651:
4641:
4630:
4627:
4626:
4624:
4623:
4618:
4613:
4608:
4603:
4597:
4595:
4591:
4590:
4588:
4587:
4582:
4576:
4574:
4570:
4569:
4566:
4565:
4563:
4562:
4557:
4552:
4551:
4550:
4545:
4540:
4535:
4530:
4525:
4520:
4515:
4510:
4505:
4495:
4483:
4481:
4474:
4473:
4468:
4463:
4458:
4451:
4444:
4439:
4434:
4429:
4422:
4411:
4404:
4399:
4391:
4380:
4372:
4367:
4362:
4355:
4348:
4340:
4338:
4334:
4333:
4331:
4330:
4323:
4316:
4311:
4306:
4301:
4297:Trio élégiaque
4293:
4289:Trio élégiaque
4285:
4277:
4275:
4271:
4270:
4268:
4261:
4254:
4247:
4240:
4233:
4226:
4224:
4220:
4219:
4217:
4216:
4209:
4202:
4195:
4188:
4181:
4174:
4169:
4163:
4160:
4159:
4157:
4156:
4151:
4144:
4139:
4134:
4131:Youth Symphony
4126:
4124:
4117:
4113:
4112:
4110:
4109:
4104:
4099:
4094:
4082:
4080:
4076:
4075:
4073:
4072:
4065:
4058:
4051:
4044:
4036:
4034:
4030:
4029:
4024:
4021:
4020:
4013:
4012:
4005:
3998:
3990:
3984:
3983:
3974:
3963:
3962:External links
3960:
3958:
3957:
3947:(105): 12–21.
3939:Walsh, Stephen
3935:
3929:
3916:
3906:
3896:
3890:
3877:
3858:
3852:
3835:
3829:
3817:Norris, Jeremy
3813:
3807:
3787:
3768:
3755:
3745:
3743:
3740:
3738:
3737:
3721:
3702:
3683:
3670:
3658:
3638:
3618:
3594:
3592:
3589:
3587:
3586:
3569:
3563:
3546:
3540:
3520:
3514:
3497:
3491:
3474:
3468:
3448:
3442:
3429:
3423:
3410:
3404:
3387:
3381:
3368:
3345:
3339:
3323:
3317:
3300:
3294:
3272:
3270:
3267:
3265:
3262:
3260:
3259:
3247:
3245:, p. 229.
3235:
3233:, p. 234.
3223:
3221:, p. 351.
3219:Biancolli 1998
3211:
3209:, p. 410.
3199:
3181:
3148:
3136:Sony Classical
3123:
3101:
3075:
3042:
3023:Distler, Jed.
3015:
3001:
2983:
2964:Distler, Jed.
2956:
2941:. ArkivMusic.
2937:Distler, Jed.
2929:
2910:Barnett, Rob.
2902:
2875:
2861:
2829:
2804:
2802:, p. 356.
2800:Steinberg 1998
2792:
2790:, p. 226.
2777:
2765:
2753:
2751:, p. 100.
2738:
2726:
2714:
2702:
2690:
2673:
2671:, p. 115.
2661:
2649:
2647:, p. 225.
2637:
2625:
2610:
2608:, p. 344.
2598:
2586:
2574:
2572:, p. 221.
2559:
2547:
2545:, p. 161.
2532:
2520:
2508:
2496:
2494:, p. 133.
2484:
2482:, p. 162.
2472:
2470:, p. 160.
2460:
2458:, p. 146.
2448:
2436:
2434:, p. 395.
2424:
2422:, p. 113.
2412:
2400:
2398:, p. 110.
2388:
2386:, p. 100.
2376:
2364:
2352:
2340:
2328:
2313:
2301:
2289:
2287:, p. 133.
2277:
2275:, p. 113.
2265:
2253:
2251:, p. 361.
2249:Steinberg 1998
2241:
2229:
2217:
2205:
2190:
2188:, p. 132.
2178:
2166:
2164:, p. 358.
2162:Steinberg 1998
2154:
2137:
2125:
2108:
2093:
2091:, p. 125.
2076:
2061:
2049:
2037:
2025:
2013:
2001:
1989:
1977:
1965:
1953:
1941:
1929:
1917:
1915:, p. 120.
1905:
1893:
1881:
1869:
1857:
1855:, p. 118.
1842:
1830:
1818:
1806:
1794:
1782:
1770:
1758:
1746:
1734:
1722:
1710:
1698:
1686:
1674:
1662:
1649:
1647:
1644:
1642:
1641:
1628:
1616:
1603:
1586:
1579:
1556:
1546:
1537:
1528:
1519:
1509:
1507:
1504:
1473:Percy Grainger
1465:Fritz Kreisler
1452:
1449:
1448:
1447:
1433:
1419:
1405:
1394:
1380:
1366:
1352:
1350:Valery Gergiev
1338:
1324:
1310:
1296:
1285:
1271:
1257:
1238:
1235:
1184:
1181:
1131:
1128:
1021:
1018:
1016:
1015:
1012:
1009:
1005:
991:
973:
962:
957:
956:
943:
938:
937:
924:
919:
918:
917:
908:
907:
906:
903:
902:
817:
815:
808:
802:
799:
797:
796:
795:
794:
789:
784:
779:
776:
762:
761:
760:
755:
750:
737:
736:
735:
730:
723:
711:
696:
695:
694:
688:
675:
669:
654:
641:
638:
634:figure skating
545:
542:
534:Hollywood Bowl
521:Liverpool Post
417:
414:
405:Vasily Safonov
383:Frederic Cowen
371:Arthur Nikisch
361:
358:
271:
268:
247:writer's block
208:Savva Mamontov
200:heavy drinking
183:First Symphony
151:Sergei Taneyev
139:First Symphony
131:
128:
126:
123:
92:writer's block
80:First Symphony
26:
9:
6:
4:
3:
2:
4719:
4708:
4705:
4703:
4700:
4698:
4695:
4693:
4690:
4689:
4687:
4677:
4667:
4666:
4663:
4650:
4646:
4642:
4640:
4632:
4631:
4628:
4622:
4619:
4617:
4614:
4612:
4609:
4607:
4604:
4602:
4599:
4598:
4596:
4592:
4586:
4583:
4581:
4578:
4577:
4575:
4571:
4561:
4558:
4556:
4553:
4549:
4546:
4544:
4541:
4539:
4536:
4534:
4531:
4529:
4526:
4524:
4521:
4519:
4516:
4514:
4511:
4509:
4506:
4504:
4501:
4500:
4499:
4496:
4494:
4485:
4484:
4482:
4478:
4472:
4471:Miscellaneous
4469:
4467:
4464:
4462:
4459:
4457:
4456:
4452:
4450:
4449:
4445:
4443:
4440:
4438:
4435:
4433:
4430:
4428:
4427:
4423:
4421:
4412:
4410:
4409:
4408:Polka de W.R.
4405:
4403:
4400:
4398:
4396:
4392:
4390:
4381:
4379:
4377:
4373:
4371:
4368:
4366:
4363:
4361:
4360:
4356:
4354:
4353:
4349:
4347:
4346:
4342:
4341:
4339:
4335:
4329:
4328:
4324:
4322:
4321:
4317:
4315:
4312:
4310:
4307:
4305:
4302:
4300:
4298:
4294:
4292:
4290:
4286:
4284:
4283:
4279:
4278:
4276:
4272:
4267:
4266:
4262:
4260:
4259:
4255:
4253:
4252:
4248:
4246:
4245:
4241:
4239:
4238:
4234:
4232:
4231:
4227:
4225:
4221:
4215:
4214:
4210:
4208:
4207:
4203:
4201:
4200:
4196:
4194:
4193:
4189:
4187:
4186:
4182:
4180:
4179:
4175:
4173:
4170:
4168:
4165:
4164:
4155:
4152:
4150:
4149:
4145:
4143:
4140:
4138:
4135:
4133:
4132:
4128:
4127:
4125:
4121:
4118:
4114:
4108:
4105:
4103:
4100:
4098:
4095:
4093:
4084:
4083:
4081:
4077:
4071:
4070:
4066:
4064:
4063:
4059:
4057:
4056:
4052:
4050:
4049:
4045:
4043:
4042:
4038:
4037:
4035:
4031:
4027:
4022:
4018:
4011:
4006:
4004:
3999:
3997:
3992:
3991:
3988:
3982:
3981:Cantorion.org
3978:
3975:
3973:
3969:
3966:
3965:
3954:
3950:
3946:
3945:
3940:
3936:
3932:
3926:
3922:
3917:
3915:
3911:
3907:
3905:
3901:
3897:
3893:
3887:
3883:
3878:
3875:
3869:
3868:
3863:
3859:
3855:
3849:
3844:
3843:
3836:
3832:
3826:
3822:
3818:
3814:
3810:
3804:
3799:
3798:
3792:
3788:
3784:
3780:
3776:
3775:
3769:
3766:(3): 176–216.
3765:
3761:
3756:
3752:
3747:
3746:
3734:
3733:
3727:
3722:
3711:
3707:
3703:
3692:
3688:
3684:
3680:
3676:
3671:
3668:
3664:
3659:
3648:
3644:
3639:
3628:
3624:
3619:
3615:
3611:
3607:
3603:
3602:
3596:
3595:
3583:
3579:
3575:
3570:
3566:
3560:
3555:
3554:
3547:
3543:
3537:
3532:
3531:
3525:
3521:
3517:
3511:
3506:
3505:
3498:
3494:
3488:
3483:
3482:
3475:
3471:
3465:
3460:
3459:
3453:
3449:
3445:
3439:
3435:
3430:
3426:
3420:
3416:
3411:
3407:
3401:
3396:
3395:
3388:
3384:
3378:
3374:
3369:
3365:
3361:
3357:
3353:
3352:
3346:
3342:
3336:
3332:
3328:
3324:
3320:
3314:
3309:
3308:
3301:
3297:
3291:
3286:
3285:
3279:
3274:
3273:
3256:
3251:
3244:
3239:
3232:
3227:
3220:
3215:
3208:
3203:
3195:
3191:
3185:
3169:
3165:
3164:
3159:
3152:
3137:
3133:
3127:
3120:
3119:Anna Fedorova
3116:
3112:
3105:
3089:
3085:
3079:
3063:
3059:
3058:
3053:
3046:
3030:
3026:
3019:
3011:
3005:
2997:
2993:
2987:
2971:
2967:
2960:
2944:
2940:
2933:
2917:
2913:
2906:
2890:
2886:
2879:
2871:
2865:
2849:
2845:
2838:
2836:
2834:
2822:
2815:
2808:
2801:
2796:
2789:
2784:
2782:
2775:, p. 53.
2774:
2773:Huckvale 2022
2769:
2762:
2761:Huckvale 2022
2757:
2750:
2749:Harrison 2006
2745:
2743:
2736:, p. 62.
2735:
2734:Huckvale 2022
2730:
2723:
2718:
2711:
2706:
2699:
2694:
2687:
2682:
2680:
2678:
2670:
2665:
2659:, p. 45.
2658:
2653:
2646:
2641:
2634:
2633:Saunders 1942
2629:
2623:
2619:
2614:
2607:
2606:Harrison 2006
2602:
2595:
2590:
2584:, p. 98.
2583:
2582:Harrison 2006
2578:
2571:
2570:Harrison 2006
2566:
2564:
2556:
2551:
2544:
2543:Harrison 2006
2539:
2537:
2530:, p. 83.
2529:
2524:
2518:, p. 40.
2517:
2512:
2505:
2500:
2493:
2492:Harrison 2006
2488:
2481:
2476:
2469:
2468:Harrison 2006
2464:
2457:
2452:
2446:, p. 41.
2445:
2440:
2433:
2428:
2421:
2420:Harrison 2006
2416:
2410:, p. 62.
2409:
2404:
2397:
2396:Harrison 2006
2392:
2385:
2380:
2373:
2368:
2362:, p. 94.
2361:
2360:Harrison 2006
2356:
2349:
2344:
2337:
2336:Harrison 2006
2332:
2326:, p. 61.
2325:
2320:
2318:
2311:, p. 79.
2310:
2305:
2298:
2293:
2286:
2281:
2274:
2269:
2263:, p. 32.
2262:
2257:
2250:
2245:
2238:
2233:
2227:, p. 97.
2226:
2221:
2214:
2209:
2203:, p. 60.
2202:
2197:
2195:
2187:
2182:
2175:
2170:
2163:
2158:
2152:, p. 94.
2151:
2146:
2144:
2142:
2135:, p. 78.
2134:
2129:
2123:, p. 93.
2122:
2121:Harrison 2006
2117:
2115:
2113:
2106:, p. 99.
2105:
2104:Harrison 2006
2100:
2098:
2090:
2085:
2083:
2081:
2074:, p. 31.
2073:
2068:
2066:
2058:
2057:Harrison 2006
2053:
2046:
2041:
2035:, p. 58.
2034:
2029:
2022:
2017:
2011:, p. 89.
2010:
2005:
1998:
1997:Harrison 2006
1993:
1986:
1981:
1975:, p. 34.
1974:
1969:
1963:, p. 88.
1962:
1957:
1951:, p. 57.
1950:
1945:
1939:, p. 28.
1938:
1933:
1927:, p. 87.
1926:
1921:
1914:
1909:
1902:
1901:Harrison 2006
1897:
1891:, p. 15.
1890:
1885:
1879:, p. 87.
1878:
1877:Harrison 2006
1873:
1866:
1861:
1854:
1849:
1847:
1839:
1834:
1827:
1826:Timoshin 2016
1822:
1816:, p. 51.
1815:
1810:
1804:, p. 78.
1803:
1802:Harrison 2006
1798:
1792:, p. 97.
1791:
1786:
1780:, p. 48.
1779:
1774:
1768:, p. 77.
1767:
1766:Harrison 2006
1762:
1756:, p. 23.
1755:
1750:
1744:, p. 61.
1743:
1738:
1732:, p. 22.
1731:
1726:
1720:, p. 76.
1719:
1718:Harrison 2006
1714:
1708:, p. 68.
1707:
1706:Harrison 2006
1702:
1695:
1690:
1683:
1678:
1672:, p. 67.
1671:
1666:
1659:
1654:
1650:
1638:
1632:
1626:
1620:
1613:
1607:
1600:
1596:
1590:
1582:
1576:
1571:
1570:
1560:
1550:
1541:
1532:
1523:
1514:
1510:
1503:
1501:
1500:All by Myself
1497:
1493:
1489:
1488:Frank Sinatra
1484:
1482:
1478:
1474:
1470:
1466:
1457:
1446:
1443:conducted by
1442:
1438:
1434:
1432:
1429:conducted by
1428:
1424:
1420:
1418:
1415:conducted by
1414:
1410:
1406:
1403:
1399:
1398:Anna Fedorova
1395:
1393:
1390:conducted by
1389:
1385:
1381:
1379:
1376:conducted by
1375:
1371:
1367:
1365:
1364:Andrew Litton
1362:conducted by
1361:
1357:
1356:Stephen Hough
1353:
1351:
1348:conducted by
1347:
1343:
1342:Evgeny Kissin
1339:
1337:
1334:conducted by
1333:
1329:
1325:
1323:
1320:conducted by
1319:
1315:
1311:
1309:
1306:conducted by
1305:
1301:
1297:
1294:
1290:
1286:
1284:
1281:conducted by
1280:
1276:
1272:
1270:
1267:conducted by
1266:
1262:
1258:
1256:
1253:conducted by
1252:
1248:
1244:
1243:
1242:
1234:
1232:
1219:
1215:
1201:
1196:
1194:
1189:
1180:
1178:
1174:
1168:
1165:
1163:
1159:
1155:
1151:
1146:
1144:
1139:
1137:
1127:
1125:
1124:
1119:
1106:
1103:
1102:
1096:
1084:
1076:
1072:
1068:
1058:
1052:
1050:
1045:
1043:
1039:
1031:
1026:
1013:
1010:
1007:
1006:
1004:
999:
997:
985:
981:
977:
974:Performed by
960:
941:
922:
899:
896:
888:
877:
874:
870:
867:
863:
860:
856:
853:
849:
846: –
845:
841:
840:Find sources:
834:
830:
824:
823:
818:This section
816:
812:
807:
806:
793:
792:double basses
790:
788:
785:
783:
780:
777:
775:
771:
770:
769:
767:
763:
759:
756:
754:
751:
749:
746:
745:
744:
742:
738:
734:
731:
728:
724:
716:
712:
709:
705:
704:
703:
701:
697:
693:
689:
680:
676:
674:
670:
668:
664:
663:
662:
660:
656:
655:
653:
651:
647:
637:
635:
631:
627:
623:
619:
618:
613:
612:Frank Borzage
609:
608:
603:
599:
598:
593:
589:
588:
583:
582:Charles Vidor
579:
578:
573:
568:
566:
561:
557:
556:Stephen Hough
552:
541:
539:
535:
531:
527:
523:
522:
517:
513:
509:
508:Armistice Day
505:
500:
498:
494:
490:
486:
485:
480:
479:
474:
469:
468:program notes
465:
461:
460:New York City
457:
453:
449:
441:
436:
432:
429:
428:
423:
413:
411:
406:
402:
397:
395:
390:
389:
384:
380:
376:
372:
368:
357:
354:
353:first subject
349:
343:
341:
337:
333:
332:orchestration
329:
325:
321:
316:
311:
308:
304:
303:
298:
294:
290:
289:
280:
276:
267:
264:
260:
256:
252:
248:
242:
240:
236:
232:
228:
227:
222:
216:
213:
209:
205:
201:
194:
192:
184:
179:
175:
173:
169:
165:
161:
156:
152:
148:
144:
140:
136:
122:
120:
116:
112:
108:
104:
99:
97:
93:
89:
85:
81:
76:
74:
70:
66:
62:
58:
54:
50:
41:
37:
33:
19:
4573:Recognitions
4487:Prelude in C
4466:Three Pieces
4453:
4446:
4424:
4406:
4394:
4375:
4357:
4350:
4343:
4325:
4318:
4296:
4288:
4280:
4263:
4256:
4249:
4242:
4235:
4228:
4211:
4204:
4197:
4190:
4183:
4176:
4146:
4129:
4096:
4067:
4060:
4053:
4046:
4039:
3980:
3942:
3920:
3881:
3866:
3841:
3820:
3796:
3772:
3763:
3759:
3750:
3732:The Guardian
3730:
3713:. Retrieved
3709:
3694:. Retrieved
3690:
3678:
3650:. Retrieved
3647:The Guardian
3646:
3630:. Retrieved
3627:The Guardian
3626:
3600:
3581:
3577:
3552:
3529:
3503:
3481:Rachmaninoff
3480:
3458:Rachmaninoff
3457:
3433:
3414:
3393:
3372:
3355:
3349:
3330:
3306:
3283:
3255:Manheim 2006
3250:
3238:
3226:
3214:
3202:
3193:
3184:
3172:. Retrieved
3163:The Guardian
3161:
3151:
3139:. Retrieved
3126:
3104:
3092:. Retrieved
3078:
3066:. Retrieved
3057:The Guardian
3055:
3045:
3033:. Retrieved
3018:
3004:
2995:
2986:
2974:. Retrieved
2959:
2947:. Retrieved
2932:
2920:. Retrieved
2914:. Crotchet.
2905:
2893:. Retrieved
2878:
2864:
2852:. Retrieved
2821:the original
2807:
2795:
2788:Bullock 2022
2768:
2756:
2729:
2717:
2705:
2693:
2664:
2652:
2645:Bullock 2022
2640:
2628:
2613:
2601:
2589:
2577:
2550:
2523:
2516:Bullock 2022
2511:
2499:
2487:
2475:
2463:
2451:
2439:
2427:
2415:
2403:
2391:
2379:
2367:
2355:
2343:
2331:
2304:
2292:
2280:
2268:
2256:
2244:
2232:
2220:
2208:
2181:
2169:
2157:
2128:
2052:
2040:
2028:
2016:
2004:
1992:
1980:
1968:
1956:
1944:
1932:
1920:
1908:
1896:
1884:
1872:
1860:
1840:, p. 4.
1833:
1821:
1809:
1797:
1785:
1773:
1761:
1749:
1737:
1725:
1713:
1701:
1689:
1677:
1665:
1653:
1636:
1631:
1619:
1606:
1589:
1568:
1559:
1549:
1540:
1531:
1522:
1513:
1485:
1468:
1462:
1336:André Previn
1269:Fritz Reiner
1240:
1220:
1216:
1197:
1190:
1186:
1179:in E major.
1169:
1166:
1147:
1140:
1133:
1121:
1117:
1107:
1100:
1099:
1094:
1085:
1071:relative key
1056:
1053:
1046:
1036:The opening
1035:
1028:First eight
1002:
993:
891:
882:
872:
865:
858:
851:
839:
827:Please help
822:verification
819:
764:
739:
698:
657:
643:
636:programmes.
626:Inside No. 9
615:
605:
595:
592:Billy Wilder
590:(1954), and
585:
575:
569:
560:The Guardian
559:
547:
537:
528:leading the
519:
501:
492:
482:
476:
445:
425:
419:
398:
388:The Guardian
386:
375:Queen's Hall
363:
344:
312:
300:
286:
284:
255:Nikolai Dahl
243:
224:
217:
196:
188:
133:
100:
96:Nikolai Dahl
77:
71:composed by
48:
46:
36:
4621:Romanticism
4616:Villa Senar
4432:Four Pieces
4069:Monna Vanna
2669:Norris 2001
2622:Scott Davie
2594:Norris 2001
2504:Seroff 1950
2444:Norris 2001
2432:Martyn 2017
2372:Norris 2001
2309:Seroff 1950
2297:Martyn 2017
2285:Seroff 1950
2273:Norris 2001
2261:Norris 2001
2237:Norris 2001
2225:Norris 2001
2186:Martyn 2017
2133:Seroff 1950
2089:Martyn 2017
2072:Norris 2001
2045:Seroff 1950
1985:Seroff 1950
1973:Martyn 2017
1937:Norris 2001
1913:Martyn 2017
1853:Martyn 2017
1790:Martyn 2017
1754:Norris 2001
1742:Seroff 1950
1730:Norris 2001
1694:Martyn 2017
1612:Paris Opera
1599:opus number
1595:Suite No. 2
1563:Cited from
1496:Eric Carmen
1417:Paavo Järvi
1289:Van Cliburn
1150:arpeggiated
1020:I. Moderato
921:1. Moderato
778:2nd violins
464:Philip Hale
452:Max Fiedler
394:installment
340:opus number
328:Ivan Lipaev
320:mulled wine
288:Mefistofele
251:Leo Tolstoy
88:Leo Tolstoy
59:. 18, is a
4686:Categories
4414:Étude in F
4337:Solo piano
4123:Symphonies
4116:Orchestral
3278:Leyda, Jay
2996:kissin.org
2686:Hough 2008
2528:Scott 2007
2408:Scott 2007
2324:Scott 2007
2201:Scott 2007
2033:Scott 2007
1949:Scott 2007
1889:Chung 1988
1814:Scott 2007
1778:Scott 2007
1682:Scott 2007
1658:Scott 2007
1646:References
1237:Recordings
1160:solo. The
1123:fortissimo
1118:Meno mosso
1075:exposition
996:media help
885:April 2022
855:newspapers
741:Percussion
602:David Lean
565:Classic FM
204:Depression
130:Background
4251:The Bells
4148:The Bells
3608:thesis).
3243:Tall 1981
3231:Tall 1981
3141:22 August
1469:Preghiera
1437:Yuja Wang
1411:with the
1384:Yuja Wang
1300:Earl Wild
1057:piu mosso
801:Structure
753:bass drum
727:trombones
679:clarinets
659:Woodwinds
650:orchestra
456:Baltimore
427:The Times
307:movements
172:CĂ©sar Cui
103:movements
69:orchestra
4639:Category
4490:♯
4480:Preludes
4417:♯
4397:, Op. 39
4386:♭
4378:, Op. 33
4265:Vocalise
4185:The Rock
4089:♯
4079:Concerto
4062:SalammbĂ´
3914:AllMusic
3904:AllMusic
3864:(1960).
3819:(1994).
3793:(2005).
3783:40214017
3774:Intégral
3667:AllMusic
3652:14 April
3632:14 April
3614:Archived
3526:(1998).
3454:(2001).
3364:25434403
3329:(2022).
3280:(1956).
3174:10 April
3168:Archived
3088:Archived
3062:Archived
3029:Archived
2970:Archived
2943:Archived
2916:Archived
2889:Archived
2848:Archived
1225:♭
1211:♭
1205:♭
1158:clarinet
1112:♭
1095:piĂą vivo
1090:♭
1080:♭
1064:♭
1038:movement
978:and the
720:♭
715:trumpets
692:bassoons
684:♭
587:Rhapsody
580:(1950),
293:La Scala
263:triptych
259:hypnosis
226:The Rock
61:concerto
4594:Related
4274:Chamber
3715:1 April
3696:29 June
3264:Sources
3115:YouTube
3094:4 March
3068:4 March
3035:4 March
2976:4 March
2949:4 March
2922:4 March
2895:4 March
2854:4 March
1214:major.
1177:soloist
1136:C minor
1093:major "
986:, 1959.
869:scholar
774:violins
766:Strings
758:cymbals
748:timpani
532:at the
336:Gutheil
210:at the
174:wrote:
125:History
119:Gutheil
53:C minor
4662:Portal
4244:Spring
3953:942978
3951:
3927:
3888:
3850:
3827:
3805:
3781:
3561:
3538:
3512:
3489:
3466:
3440:
3421:
3402:
3379:
3362:
3337:
3315:
3292:
1577:
1435:2023:
1421:2018:
1407:2017:
1396:2013:
1382:2011:
1368:2005:
1354:2004:
1340:1988:
1326:1971:
1312:1970:
1298:1965:
1287:1962:
1273:1959:
1259:1956:
1245:1929:
1173:phrase
1069:, the
982:under
871:
864:
857:
850:
842:
787:cellos
782:violas
667:flutes
410:rubles
369:under
4649:Audio
4493:minor
4420:major
4389:minor
4299:No. 2
4291:No. 1
4223:Vocal
4092:minor
4041:Aleko
4033:Opera
3949:JSTOR
3944:Tempo
3779:JSTOR
3591:Other
3360:JSTOR
2824:(PDF)
2817:(PDF)
1639:(CT).
1506:Notes
1439:with
1425:with
1400:with
1386:with
1372:with
1358:with
1344:with
1330:with
1316:with
1302:with
1291:with
1277:with
1263:with
1249:with
1162:motif
1154:flute
1067:major
1042:theme
876:JSTOR
862:books
708:horns
700:Brass
673:oboes
646:piano
65:piano
3925:ISBN
3886:ISBN
3848:ISBN
3825:ISBN
3803:ISBN
3717:2024
3698:2023
3654:2022
3634:2022
3584:(9).
3559:ISBN
3536:ISBN
3510:ISBN
3487:ISBN
3464:ISBN
3438:ISBN
3419:ISBN
3400:ISBN
3377:ISBN
3335:ISBN
3313:ISBN
3290:ISBN
3176:2021
3143:2022
3096:2021
3070:2021
3037:2021
2978:2021
2951:2021
2924:2021
2897:2021
2856:2021
1575:ISBN
1200:oboe
1030:bars
848:news
772:1st
733:tuba
717:in B
710:in F
681:in B
648:and
458:and
348:O.S.
315:O.S.
115:O.S.
111:O.S.
67:and
63:for
47:The
3912:at
3902:at
3665:at
3606:DMA
3356:147
3113:on
1101:fff
831:by
624:'s
614:'s
594:'s
584:'s
574:'s
466:'s
291:in
51:in
4688::
4548:10
3764:40
3762:.
3729:.
3708:.
3689:.
3677:.
3645:.
3625:.
3612:.
3582:33
3580:.
3576:.
3354:.
3192:.
3166:.
3160:.
3134:.
3117:,
3060:.
3054:.
2994:.
2832:^
2780:^
2741:^
2676:^
2620:,
2562:^
2535:^
2316:^
2193:^
2140:^
2111:^
2096:^
2079:^
2064:^
1845:^
1483:.
1233:.
725:3
713:2
706:4
690:2
677:2
671:2
665:2
652::
396:.
295:,
57:Op
55:,
4664::
4543:9
4538:8
4533:7
4528:6
4523:5
4518:4
4513:3
4508:2
4503:1
4009:e
4002:t
3995:v
3955:.
3933:.
3894:.
3876:)
3856:.
3833:.
3811:.
3785:.
3719:.
3700:.
3656:.
3636:.
3604:(
3567:.
3544:.
3518:.
3495:.
3472:.
3446:.
3427:.
3408:.
3385:.
3366:.
3343:.
3321:.
3298:.
3257:.
3178:.
3145:.
3098:.
3072:.
3039:.
3012:.
2998:.
2980:.
2953:.
2926:.
2899:.
2872:.
2858:.
2724:.
2712:.
2700:.
2688:.
2635:.
2350:.
1828:.
1583:.
1222:D
1061:E
998:.
898:)
892:(
887:)
883:(
873:·
866:·
859:·
852:·
825:.
768::
743::
702::
661::
34:.
20:)
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