Harmonic Inventiveness in Rodion Shchedrin’s Piano Concertos
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Abstract
The article examines pitch organization in Rodion Shchedrin’s music on the example of his four concertos for piano and orchestra. It is established that a new type of harmony in these compositions appears each time in an inventive approach (or combination) of the characteristic features of historically established types of pitch systems: modality, tonality and the so-called atonality.
Keywords: Rodion Shchedrin, piano concerto, harmony, inventiveness, tonality, modality, dodeca-chordality
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