On the Cyclical Nature of Ten Preludes Op. 23 by S. Rachmaninov in the Light of the Dramaturgy of His Second Piano Concerto
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Abstract
The formula “from darkness to light” is often mentioned in connection with Rachmaninov’s Second Concerto, but sometimes in connection with his other compositions, like with Variations on a theme by Chopin Op. 22, Ten Preludes Op. 23, the cycle of 24 preludes. But what is the “Beethoven’s” formula meaning, when applied to these works? Is it equally true for the Second Concerto and for the book of Ten Preludes op. 23, which some consider to be just a collection, while others – a cycle?
The given article consists of two essays. The first one examines the storyline of the second subject of the first movement of the Concerto. Analysis of this storyline allows us to conclude that the plot of the first movement is a drama that is resolved in the final of the Concerto. The second focuses on the Preludes F sharp minor and G flat major from the Op. 23, and on the tonal organization of the opus 23. Comprehension of interacting these pieces suggests new arguments in favor of its cyclical nature. It appears that these two preludes are interrelated not only tonally, but also dramaturgically: the first sets a dramatic collision, which is resolved in the last one at end of the cycle. The dramaturgy of the preludes cycle resembles the dramaturgy of the Concerto, and this resemblance is supported by the similar patterns in their tonal organization. At the same time, however, their concepts are not identical: both the drama and its resolution in the cycle of preludes differ from the drama and its resolution in the Concerto.
Keywords: S. Rachmaninov, piano concerto, prelude, instrumental cycle, dramaturgy, musical analysis, sonata form, second subject.
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