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190:'s 1930 studio recording of the concerto brought immense popularity to the piece around the world. In 1927, Horowitz met with Rachmaninoff in New York, where he performed the piece for him. By receiving feedback from the composer, Horowitz's interpretation of the concerto "most closely resembled Rachmaninoff's performance in its finely chiseled, almost steely delivery." Ruby Cheng writes, "With these expansions of musical expression and pianism, Horowitz brought the Third Concerto into a prominence that broke through any listener resistance." Horowitz later said "Without false modesty, I brought this concerto to light. I brought it to life, and everywhere!"
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as the main attraction, rather than the ensemble as a whole. Much of the structure of the Third
Concerto echoes that of the Second, and further develops Rachmaninoff's writing style. The piece is far more structurally complex, however; advanced polyrhythms and texture feature throughout. Boris Asafiev writes that the Third Concerto departs from the "naive romantic features" seen in his earlier compositions, namely the Second Concerto. In addition, the three movements of the Third Concerto, in terms of motives and theme, resemble the cyclic form of the classical symphony, unlike his Second.
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139:. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important – an attitude too rare amongst conductors. ... Though the rehearsal was scheduled to end at 12:30, we played and played, far beyond this hour, and when Mahler announced that the first
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appreciation for his convictions", according to Ruby Cheng. In a 1930 letter, Rachmaninoff's brother-in-law
Vladimir Satin expressed a feeling of nostalgia for a "lost Russia", thanking him for allowing listeners to live in the "good past" and forget the "bad future". Rachmaninoff became a symbol of an old, nationalistic identity of Russia; many believed he was among the last. The Third Concerto served the same purpose as the
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172:, a few months later, included a review of Rachmaninoff's work: "On this occasion the favorable impression it had made when it was played before was deepened. It is more mature, more finished, more interesting in its structure, and more effective than Rachmaninoff's other compositions in this form…but it was felt by many yesterday…that many another pianist could play it better than the composer."
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which opens with toccata-like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious
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Russian critic
Grigory Prokofiev wrote "The new concerto mirrored the best sides of creative power - sincerity, simplicity and clarity of musical thought." According to Varazdat Khachatryan, the Third Concerto was more piano-centric than Rachmaninoff's previous concertos, presenting the solo pianist
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Rachmaninoff, under pressure, and hoping to make his work more popular, authorized several cuts in the score, to be made at the performer's discretion. These cuts, particularly in the second and third movements, were commonly taken in performance and recordings during the initial decades following
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After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. The piano ends the movement with a short, violent "cadenza-esque" passage which moves
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However, by 1919, public perception of the concerto (as well as
Rachmaninoff's pianistic capabilities) turned more positive. He was increasingly praised for his commitment to resonance and musicality rather than a display of technique and virtuosity. The concerto was "affected by this new
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cadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer's musical signature – as it is used in both the composer's
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would be rehearsed again, I expected some protest or scene from the musicians, but I did not notice a single sign of annoyance. The orchestra played the first movement with a keen or perhaps even closer appreciation than the previous
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major, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement's
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The movement contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular
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the concerto's publication. More recently, it has become commonplace to perform the concerto without cuts. A typical performance of the complete concerto has a duration of about forty minutes.
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before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme.
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517:-like style. Both cadenzas lead into a quiet solo section where the flute, oboe, clarinet and horn individually restate the first theme of the exposition, accompanied by delicate
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of the first movement, is among the most challenging in all of
Rachmaninoff's works. The composition is seen by many as the pinnacle of Rachmaninoff's career as a composer.
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Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while
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Public opinion regarding the Third
Concerto was mixed following the premiere in New York. On November 30, 1909, two days after the premiere, a critic for the
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in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition's second theme in
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The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into the second theme in
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in this way: he "spoke directly to the
Russian soul." The concerto soon became more popular in the United States than the
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Rachmaninoff composed the concerto in
Dresden completing it on September 23, 1909. Contemporary with this work are his
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melody which
Rachmaninoff claimed "wrote itself". The theme soon develops into complex and busy pianistic figuration.
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on
January 16, 1910, an "experience Rachmaninoff treasured". Rachmaninoff later described the rehearsal to Riesemann:
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An analysis of Rachmaninoff's Works for Piano and Orchestra including the Piano Concertos and the Paganini Rhapsody
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Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the
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1088:(July 1969). "The Opening Theme of Rachmaninoff's Third Piano Concerto and its Liturgical Prototype".
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lamented he had not learned this concerto as a student, when he was "still too young to know fear".
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It is generally agreed that the melodic density and complexity found in the concerto, namely the
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30, was composed in the summer of 1909. The piece was premiered on November 28 of that year in
823:"Rachmaninoff the composer-pianist: Aspects of pianism in his Piano Concerto No. 3 in D minor"
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937:"Re-Assessing Rachmaninoff's Legacy: The Piano Concertos and Evolution of His Musical Style"
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to the United States. The concerto was first performed on Sunday, November 28, 1909, at the
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850:"In Search of Russia: Sergei Rakhmaninov and the Politics of Musical Memory after 1917"
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At that time Mahler was the only conductor whom I considered worthy to be classed with
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Rachmaninov and His Pianoforte Concertos. A brief sketch of the composer and his style
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wrote "Sound, reasonable music this, though not a great nor memorable proclamation."
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The third movement is in a modified sonata-allegro form, and is quick and vigorous.
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Owing to its difficulty, the concerto is respected, even feared, by many pianists.
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A Descriptive Analysis of the Piano Concertos of Sergei Vasilyevich Rachmaninoff
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666:"'Rach 3' is a concerto that pianist Daniil Trifonov needed to grow into"
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19:"Rachmaninoff 3" and "Rach 3" redirect here. For his third symphony, see
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979:"Shine: The Rach 3 | National Film and Sound Archive of Australia"
556:. Many melodic thoughts of this movement allude to Rachmaninoff's
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1018:(Paperback ed.). New York: New York University Press.
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Audio playback is not supported in your browser. You can
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in New York City. Rachmaninoff was the soloist, with the
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837:– via ProQuest Dissertations and Theses Global.
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Rachmaninoff proofing copies of the concerto in 1910
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776:"Program Notes: Rachmaninoff Piano Concerto No. 3"
1039:(Revised ed.). New York: Simon and Schuster.
53:with the composer as soloist, accompanied by the
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160:Changing public opinion and future performances
127:. The work received a second performance under
194:Comparison to Second Piano Concerto and legacy
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1761:Music written in all major and/or minor keys
1135:Rachmaninoff's Works for Piano and Orchestra
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748:. London: Jarrold's Publishers. p. 236.
539:The second movement is constructed around a
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719:"How performers conquer 'unplayable' works"
1862:Music dedicated to ensembles or performers
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1130:International Music Score Library Project
1014:Sergei Rachmaninoff – A Lifetime in Music
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148:The score was first published in 1910 by
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427:The work follows the form of a standard
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1010:Bertensson, Sergei; Leyda, Jay (2001).
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1847:Piano concertos by Sergei Rachmaninoff
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854:The Slavonic and East European Review
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765:, third edition (2004), Amadeus Press
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935:Khachatryan, Varazdat (2021-01-01).
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827:Dissertation Abstracts International
513:, and a second one with a lighter,
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882:10.5699/slaveasteurorev2.97.1.0136
866:10.5699/slaveasteurorev2.97.1.0136
725:. British Broadcasting Corporation
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744:Leonard, Richard Anthony (1956).
621:The concerto plays the role of a
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498:Portion of the original cadenza (
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1557:Variations on a Theme of Corelli
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1610:Morceau de Fantaisie in G minor
1520:Variations on a Theme of Chopin
1361:Rhapsody on a Theme of Paganini
1262:Piano Concerto No. 4 in G minor
1257:Piano Concerto No. 3 in D minor
1252:Piano Concerto No. 2 in C minor
1080:. New York: Simon and Schuster.
1036:The Victor Book of the Symphony
984:National Film and Sound Archive
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914:from the original on 2019-04-04
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631:, based on the life of pianist
1756:Sergei Rachmaninoff recordings
1392:Liturgy of St. John Chrysostom
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443:. The piece revolves around a
156:is so uncomfortable to play."
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1525:Piano Sonata No. 1 in D minor
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21:Symphony No. 3 (Rachmaninoff)
1033:O'Connell, Charles (1941) .
821:Cheng, Ruby (May 19, 2023).
693:"Tao gets fresh with Rach 3"
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472:climaxes, especially in the
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962:Bertensson & Leyda 2001
800:Bertensson & Leyda 2001
214:The concerto is scored for
16:Work by Sergei Rachmaninoff
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1735:Conservatoire Rachmaninoff
1469:Suite No. 2 for two pianos
1464:Suite No. 1 for two pianos
1051:Anderson, Will R. (1946).
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746:A History of Russian Music
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1597:Piece (Canon) in D minor
1078:Victor Book of Concertos
1076:Veinus, Abraham (1948).
420:III. Finale (Alla breve)
1857:Compositions in D minor
1538:Piano Sonata No. 2 in B
1459:Cello Sonata in G minor
717:Burton-Hill, Clemency.
552:into the last movement
489:download the audio file
435:I. Allegro ma non tanto
408:II. Intermezzo (Adagio)
396:I. Allegro ma non tanto
77:Background and premiere
1055:. London: Hinrichsen.
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1740:Rachmaninoff (crater)
1500:Morceaux de fantaisie
1091:The Musical Quarterly
558:second piano concerto
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1514:Six moments musicaux
1181:List of compositions
1126:Piano Concerto No. 3
763:The Art of the Piano
672:. washingtonpost.com
541:theme and variations
91:The Isle of the Dead
39:Piano Concerto No. 3
1616:Fughetta in F major
1603:Four Improvisations
1413:Three Russian Songs
1210:Francesca da Rimini
1172:Sergei Rachmaninoff
1104:10.1093/mq/LV.3.313
670:The Washington Post
664:Dingfelder, Sadie.
441:sonata-allegro form
35:Sergei Rachmaninoff
1715:Prelude in F major
1322:Scherzo in D minor
1203:The Miserly Knight
949:10.21427/rv1f-qb86
617:In popular culture
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170:The New York Times
83:First Piano Sonata
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1327:Suite in D minor
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535:II: Intermezzo
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1626:Miscellaneous
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1598:
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1563:Polka de W.R.
1560:
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946:
942:
941:Dissertations
938:
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782:on 2005-04-20
781:
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629:
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588:
582:
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567:
559:
555:
554:without pause
549:
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477:
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455:
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355:
354:double basses
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205:
204:ossia cadenza
200:
191:
189:
185:
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179:
173:
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167:
157:
155:
151:
145:
142:
138:
132:
130:
129:Gustav Mahler
126:
123:
119:
115:
111:
106:
104:
103:Gary Graffman
100:
99:Josef Hofmann
95:
93:
92:
88:
84:
69:
67:
64:
60:
56:
52:
51:New York City
48:
44:
40:
36:
28:
22:
1728:Recognitions
1642:Prelude in C
1621:Three Pieces
1608:
1601:
1579:
1561:
1549:
1530:
1512:
1505:
1498:
1480:
1473:
1451:
1443:
1435:
1418:
1411:
1404:
1397:
1390:
1383:
1366:
1359:
1352:
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1338:
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1301:
1284:
1256:
1222:
1215:
1208:
1201:
1194:
1095:
1089:
1077:
1052:
1035:
1013:
989:. Retrieved
986:of Australia
982:
973:
957:
940:
916:. Retrieved
900:
898:Cobb, Gary.
857:
853:
843:
826:
795:
784:. Retrieved
780:the original
770:
762:
754:
745:
739:
727:. Retrieved
722:
712:
700:. Retrieved
696:
686:
674:. Retrieved
669:
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620:
611:
597:
583:
576:
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508:
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456:
449:
438:
426:
384:André Previn
326:
296:
261:
227:
213:
203:
201:
197:
186:
174:
166:New York Sun
163:
147:
134:
107:
96:
90:
80:
68:repertoire.
38:
33:
1776:Romanticism
1771:Villa Senar
1587:Four Pieces
1224:Monna Vanna
759:David Dubal
570:III: Finale
340:2nd violins
114:New Theatre
1841:Categories
1569:Étude in F
1492:Solo piano
1278:Symphonies
1271:Orchestral
964:, p.
918:2020-07-06
907:(Thesis).
802:, p.
786:2013-03-01
639:References
315:snare drum
298:Percussion
125:conducting
1406:The Bells
1303:The Bells
1069:22358215M
874:0037-6795
835:304858795
829:: 78–94.
623:leitmotif
519:arpeggios
363:Structure
310:bass drum
284:trombones
249:clarinets
229:Woodwinds
220:orchestra
87:tone poem
63:classical
1794:Category
1645:♯
1635:Preludes
1572:♯
1552:, Op. 39
1541:♭
1533:, Op. 33
1420:Vocalise
1340:The Rock
1244:♯
1234:Concerto
1217:SalammbĂ´
909:Archived
831:ProQuest
592:♭
563:♭
526:♭
462:♭
445:diatonic
278:trumpets
255:bassoons
141:movement
110:en route
85:and his
1749:Related
1429:Chamber
1061:1268692
1004:Sources
515:toccata
474:cadenza
469:C minor
336:violins
328:Strings
320:cymbals
305:timpani
150:Gutheil
137:Nikisch
72:History
43:D minor
1817:Portal
1399:Spring
1112:741003
1110:
1067:
1059:
1022:
880:
872:
833:
729:25 May
702:25 May
676:25 May
587:sonata
349:cellos
344:violas
237:flutes
178:Second
154:Second
57:under
1804:Audio
1648:minor
1575:major
1544:minor
1454:No. 2
1446:No. 1
1378:Vocal
1247:minor
1196:Aleko
1188:Opera
1108:JSTOR
991:1 May
912:(PDF)
905:(PDF)
878:JSTOR
628:Shine
598:ossia
529:major
510:ossia
500:ossia
465:major
271:horns
263:Brass
243:oboes
216:piano
144:time.
120:with
66:piano
1057:OCLC
1020:ISBN
993:2024
870:ISSN
731:2023
704:2023
678:2023
605:and
334:1st
290:tuba
273:in F
218:and
1100:doi
966:158
945:doi
862:doi
804:164
723:BBC
47:Op.
41:in
37:'s
1843::
1703:10
1106:.
1096:55
1094:.
1065:OL
1063:.
981:.
943:.
939:.
927:^
890:^
876:.
868:.
858:97
856:.
852:.
825:.
811:^
761:,
721:.
668:.
635:.
609:.
476:.
382:,
378:,
282:3
276:2
269:4
253:2
247:2
241:2
235:2
222:.
94:.
45:,
1819::
1698:9
1693:8
1688:7
1683:6
1678:5
1673:4
1668:3
1663:2
1658:1
1164:e
1157:t
1150:v
1114:.
1102::
1071:.
1028:.
995:.
968:.
951:.
947::
921:.
884:.
864::
806:.
789:.
733:.
706:.
680:.
523:E
502:)
491:.
459:B
330::
300::
265::
231::
23:.
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