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155:. 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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250:, 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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71:, 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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470:, 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
362:'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
230:, 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.
212:, 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
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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.
529:, 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."
1048:" 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
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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.
87:, 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
495:, 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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488:". Rachmaninoff played the concerto eight times during the tour. Despite the concerto's popularity, its critical reception has often remained poor.
182:", 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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2999:"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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3179:"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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323:, 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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75:; however, he promised to reappear with a newer and better one. After an unsuccessful meeting with
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with his Russian Symphony Society, who farewelled the homesick Rachmaninoff with appraisal of his
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3859:. 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
507:, writing that he rarely saw a New York audience "more moved, excited and wrought up". A 1927
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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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Rachmaninov and His Pianoforte Concertos: A brief sketch of the composer and his style
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1468:'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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3041:"Rachmaninov: Piano Concertos Nos 1 & 2, Andsnes/ Berlin Philharmonic/ Pappano"
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2803:"A descriptive analysis of the piano concertos of sergei vasilyevich rachmaninoff"
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After he fulfilled his 1908 London concert engagement at the Queen's Hall under
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2859:"Rachmaninoff, Rubinstein/Reiner, Chicago Symphony Orchestra – Concerto No. 2"
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676:(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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19:"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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3147:"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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451:. 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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3121:"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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609:(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
3563:"Creativity and Mental Illness: Richard Kogan on Rachmaninoff"
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2928:"Rachmaninov: Piano Concertos No 1–4, Rhapsody / Wild, et al"
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2955:"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)
2833:"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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599:(1945) utilizes the music widely in its soundtrack, and
3073:"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
3812:. Vol. 1. Bloomington: Indiana University Press.
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The piece is written in three-movement concerto form:
4648:
3724:. London. 1902. p. 4 – via Newspapers.com.
2901:"Sergei Rachmaninov (1873–1943) Piano Concerto No. 2"
2680:
2651:
2498:
2414:
2267:
2255:
2168:
2066:
1895:
1832:
1700:
1688:
1664:
1640:
4691:
United States National Recording Registry recordings
3742:. London: Hinrichsen Edition Limited. pp. 9–14.
3670:. Los Angeles. p. 4 – via Newspapers.com.
3237:
3225:
3213:
2670:
2668:
2666:
2615:
2426:
2291:
2243:
2207:
2115:
2051:
1955:
1919:
1808:
1772:
134:
agreed to include it at one of his Saint Petersburg
106:
27 October] 1901, again with the same duo.
3790:. Cambridge, New York: Cambridge University Press.
2607:"Rachmaninoff Performance Diary – Concerto Soloist"
2510:
2390:
2303:
2180:
2015:
1931:
1871:
1796:
1760:
1736:
1724:
1712:
3828:
3810:The Russian Piano Concerto: The nineteenth century
3783:
3713:
3539:
3516:
3490:
3467:
3444:
3380:
3293:
3270:
1555:
1191:and violas introducing a second lyrical theme in B
1153:is passed between the piano and then the strings.
503:praised a Rachmaninoff concerto performance under
3912:. New Haven & London: Yale University Press.
2663:
1105:into the coda based on the first subject, marked
499:, following their temporary stay in Scandinavia.
4672:
3014:"Rachmaninov: Piano concertos 1 & 2/Andsnes"
1483:", from the second theme of the third movement.
1003:Allegro scherzando (E major → C minor → C major)
170:Rachmaninoff in 1897, after the premiere of his
3264:
3195:
2543:
2468:
2444:
2372:
2201:
2162:
2138:
2009:
1997:
1949:
1913:
1853:
1658:
617:heavily utilized its soundtrack in the episode
431:, where he gave the US premiere of his concerto
294:and also began working on the second and third
532:
3990:
3364:. Santa Barbara: Greenwood Publishing Group.
218:and playing piano pieces such as his popular
4595:Music written in all major and/or minor keys
3968:of Rachmaninoff's Piano Concerto No. 2 from
3899:Rachmaninoff: Piano Concertos Nos. 2 & 3
3712:
2336:
3835:. Seattle: University of Washington Press.
3652:The Classical Jazz Quartet Play Rachmaninov
443:'s baton, including repeat performances in
258:
151:Great Gold Medal and earning the praise of
3997:
3983:
3693:
3674:
3612:"'Rocky 2' concerto tops poll of classics"
3423:Rachmaninoff: Composer, Pianist, Conductor
3359:
3336:
2710:
2698:
2645:
1826:
1171:
1109:, in which the movement ends in a C minor
348:
67:After the disastrous 1897 premiere of his
4111:
3961:International Music Score Library Project
3930:(1973). "Sergei Rachmaninoff 1873-1943".
3609:
3511:
3296:Fritz Kreisler: Love's Sorrow, Love's Joy
3291:
3273:Sergei Rachmaninoff – A Lifetime in Music
3207:
3099:Rachmaninoff: Piano Concerto No. 2, Op.18
2788:
2686:
2237:
2150:
1553:
1145:, before being developed by an extensive
884:Learn how and when to remove this message
439:with the Boston Symphony Orchestra under
3661:
3560:
3401:
3378:
3144:
3038:
2871:
2826:
2824:
2822:
2800:
2761:
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2408:
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2324:
2109:
2092:
2045:
1985:
1889:
1865:
1814:
1790:
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1706:
1694:
1443:
1012:
833:"Piano Concerto No. 2" Rachmaninoff
589:(1955)—borrow themes from the concerto.
422:
262:
165:
27:
4468:
4004:
3856:Concerto, Piano, No. 2, C minor, Op. 18
3786:The Cambridge Companion to the Concerto
3649:
3362:Sergei Rachmaninoff: A Bio-bibliography
3314:
3277:. New York: New York University Press.
3243:
2776:
2633:
2504:
1586:. Despite that, the suite received the
1118:
4681:Piano concertos by Sergei Rachmaninoff
4673:
3488:
3439:
3420:
3406:. Jefferson: McFarland & Company.
3053:from the original on 19 September 2015
2657:
2582:
2492:
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2420:
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2297:
2285:
2273:
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2249:
2225:
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2174:
2121:
2077:
2060:
2033:
1973:
1961:
1925:
1901:
1841:
1778:
1742:
1730:
1718:
1682:
1624:The transcription is catalogued under
1582:The concerto was published before his
969:Warsaw National Philharmonic Orchestra
110:published the concerto the same year.
3978:
3629:
3586:
3523:. New York: Oxford University Press.
3465:
3383:Rachmaninoff: Life, Works, Recordings
3257:
3020:from the original on 11 February 2021
2934:from the original on 26 February 2021
2819:
2674:
2516:
2396:
2312:
2189:
2021:
1937:
1877:
1802:
1766:
1670:
1646:
1614:§ Transcriptions and derivative works
3537:
3231:
3219:
3159:from the original on 21 January 2021
3145:Clements, Andrew (25 October 2018).
3039:Clements, Andrew (27 October 2005).
2907:from the original on 17 January 2020
2872:Villella, Frank (27 February 2013).
2839:from the original on 3 December 2020
2830:
1562:. New York: Macmillan. p. 112.
822:adding citations to reliable sources
793:
98:conducting on 15 December [
3873:. Portland, Oregon: Amadeus Press.
3451:. Oxford: Oxford University Press.
3011:
2952:
2925:
2898:
1491:" is based on the second movement.
1440:Transcriptions and derivative works
246:, a neurologist who specialized in
13:
3910:The Piano: A History in 100 Pieces
3730:
3664:"All-Russian Program Thrills Bowl"
3497:. New York: Simon & Schuster.
2831:Beek, Michael (28 November 2018).
983:Problems playing these files? See
898:
628:
404:
370:with the Philharmonic Society and
14:
4707:
3950:
3610:Ezard, John; Ward, David (2004).
3474:. Cheltenham: The History Press.
3387:. London: Bloomsbury Publishing.
4658:
4632:
4623:
4622:
4391:Variations on a Theme of Corelli
3668:Los Angeles Evening Citizen News
3605:from the original on 1 May 2021.
3519:The concerto: a listener's guide
3171:
3138:
3113:
3091:
3065:
3032:
3005:
2991:
2973:
2946:
2919:
2892:
2880:from the original on 17 May 2020
2865:
2851:
2794:
1618:
1180:
1130:
1036:
952:
933:
914:
798:
527:Los Angeles Evening Citizen News
270:(left) with Rachmaninoff (right)
4444:Morceau de Fantaisie in G minor
4354:Variations on a Theme of Chopin
4195:Rhapsody on a Theme of Paganini
4096:Piano Concerto No. 4 in G minor
4091:Piano Concerto No. 3 in D minor
4086:Piano Concerto No. 2 in C minor
3869:Roeder, Michael Thomas (1994).
3489:Seroff, Victor Ilyitch (1950).
3322:. University of Chicago Press.
3079:from the original on 1 May 2021
2961:from the original on 1 May 2021
2835:. Immediate Media Company Ltd.
2600:
1606:
1599:Following a performance at the
1593:
1576:
1546:
1536:
1527:
1518:
1509:
1500:
1230:Commercial recordings include:
809:needs additional citations for
525:. Reviewing the performance in
32:Rachmaninoff in the early 1900s
4590:Sergei Rachmaninoff recordings
4226:Liturgy of St. John Chrysostom
3695:"Classic FM Hall of Fame 2024"
3676:"Classic FM Hall of Fame 2023"
3360:Cunningham, Robert E. (2001).
1008:
191:to forget about his problems.
1:
4359:Piano Sonata No. 1 in D minor
3662:Saunders, Richard D. (1942).
3546:. London: Thames Publishing.
1634:
1554:Riesemann, Oskar von (1934).
1393:conducted by Martin Panteleev
1391:Nordwestdeutsche Philharmonie
1268:Warsaw Philharmonic Orchestra
1225:
486:Rachmaninoff's third concerto
464:, who was a music critic for
437:Philadelphia Academy of Music
429:Philadelphia Academy of Music
366:in London, the soloist being
118:
21:Symphony No. 2 (Rachmaninoff)
3861:(Score contains markings by
3831:Rachmaninov Orchestral Music
3542:The Percy Grainger Companion
2981:"Discography: Evgeny Kissin"
1293:Royal Philharmonic Orchestra
789:
356:Leipzig Gewandhaus Orchestra
201:Moscow Private Russian Opera
7:
3715:"The London Correspondence"
3300:. Portland: Amadeus Press.
3196:Bertensson & Leyda 1956
2544:Bertensson & Leyda 1956
2469:Bertensson & Leyda 1956
2445:Bertensson & Leyda 1956
2373:Bertensson & Leyda 1956
2202:Bertensson & Leyda 1956
2163:Bertensson & Leyda 1956
2139:Bertensson & Leyda 1956
2010:Bertensson & Leyda 1956
1998:Bertensson & Leyda 1956
1950:Bertensson & Leyda 1956
1914:Bertensson & Leyda 1956
1854:Bertensson & Leyda 1956
1659:Bertensson & Leyda 1956
1072:major scale in both hands.
633:The concerto is scored for
533:Modern reception and legacy
10:
4712:
4569:Conservatoire Rachmaninoff
4303:Suite No. 2 for two pianos
4298:Suite No. 1 for two pianos
3587:Chung, So-Ham Kim (1988).
3561:Timoshin, Natalie (2016).
3320:Rachmaninoff and His World
3252:
1377:Verbier Festival Orchestra
1282:Chicago Symphony Orchestra
1254:Chicago Symphony Orchestra
327:published the concerto as
180:The Seven Plagues of Egypt
113:
18:
4618:
4582:
4561:
4325:
4262:
4211:
4143:Symphony No. 3 in A minor
4131:Symphony No. 2 in E minor
4126:Symphony No. 1 in D minor
4104:
4075:Piano Concerto No. 1 in F
4067:
4021:
4012:
3871:A History of the Concerto
3827:Piggott, Patrick (1974).
3493:Rachmaninoff: A Biography
2874:"Remembering Van Cliburn"
1349:Dallas Symphony Orchestra
1335:London Symphony Orchestra
1321:London Symphony Orchestra
1284:conducted by Fritz Reiner
1220:Third Concerto in D minor
413:, a flattering review by
222:. The society secretary,
136:Russian Symphony Concerts
4431:Piece (Canon) in D minor
3738:Anderson, W. R. (1947).
3699:halloffame.classicfm.com
3680:halloffame.classicfm.com
3579:
3425:. Aldershot: Routledge.
3402:Huckvale, David (2022).
1590:17, reversing the order.
1494:
1481:Full Moon and Empty Arms
1430:Los Angeles Philharmonic
519:Los Angeles Philharmonic
259:Composition and premiere
220:Prelude in C-sharp minor
153:Pyotr Ilyich Tchaikovsky
126:had been working on his
4696:Compositions in C minor
4372:Piano Sonata No. 2 in B
4293:Cello Sonata in G minor
3630:Hough, Stephen (2008).
3466:Scott, Michael (2007).
3421:Martyn, Barrie (2017).
3292:Biancolli, Amy (1998).
3110:, complete live concert
1172:III. Allegro scherzando
559:Numerous films—such as
476:and his concerto under
392:under the direction of
349:Subsequent performances
331:18 the following year.
144:Nikolai Rimsky-Korsakov
3897:Sanderson, Blair.
3887:Sanderson, Blair.
3379:Harrison, Max (2006).
3185:. Deutsche Grammophon.
2228:, pp. 31–32, 114.
1475:Two songs recorded by
1466:Classical Jazz Quartet
1449:
1416:Philadelphia Orchestra
1240:Philadelphia Orchestra
1022:
903:
432:
271:
228:Alexander Goldenweiser
184:
174:
33:
4574:Rachmaninoff (crater)
4334:Morceaux de fantaisie
3908:Tomes, Susan (2021).
3599:Ohio State University
2815:on 30 September 2017.
2687:Ezard & Ward 2004
1447:
1016:
948:3. Allegro scherzando
902:
606:I've Always Loved You
515:Vladimir Bakaleinikov
426:
266:
238:, suggested he visit
176:
169:
159:, was also to blame.
31:
4348:Six moments musicaux
4015:List of compositions
3957:Piano Concerto No. 2
3851:Rachmaninoff, Sergei
3650:Manheim, James.
3316:Bullock, Philip Ross
3265:Bertensson, Sergei;
3075:. Verbier Festival.
2801:Woodrow Crob, Gary.
1420:Yannick NĂ©zet-SĂ©guin
1398:Khatia Buniatishvili
1119:II. Adagio sostenuto
818:improve this article
368:Wassily Sapellnikoff
210:First Piano Concerto
79:meant to revoke his
73:First Piano Concerto
38:Piano Concerto No. 2
4450:Fughetta in F major
4437:Four Improvisations
4247:Three Russian Songs
4044:Francesca da Rimini
4006:Sergei Rachmaninoff
3183:Deutsche Grammophon
2546:, pp. 164–165.
2495:, pp. 118–119.
2288:, pp. 125–126.
1460:(Prayer). In 1946,
1363:Berlin Philharmonic
1311:Herbert von Karajan
1307:Berlin Philharmonic
1236:Sergei Rachmaninoff
929:2. Adagio sostenuto
586:The Seven Year Itch
547:on an article with
491:Following the 1917
390:Vienna Philharmonic
291:Francesca da Rimini
149:Moscow Conservatory
124:Sergei Rachmaninoff
62:Sergei Rachmaninoff
4549:Prelude in F major
4156:Scherzo in D minor
4037:The Miserly Knight
3632:"Five of the best"
3513:Steinberg, Michael
3258:Books and journals
3016:. Classics Today.
2957:. Classics Today.
1612:For examples, see
1470:jazz improvisation
1450:
1402:Czech Philharmonic
1317:Vladimir Ashkenazy
1303:Alexis Weissenberg
1272:Stanisław Wisłocki
1264:Sviatoslav Richter
1023:
997:Moderato (C minor)
973:Stanisław Wisłocki
965:Sviatoslav Richter
904:
593:'s romantic drama
493:October Revolution
467:The New York Times
433:
411:Serge Koussevitzky
272:
175:
157:Alexander Glazunov
34:
4686:1901 compositions
4646:
4645:
4557:
4556:
4341:Morceaux de salon
4271:Morceaux de salon
4151:
4150:
3919:978-0-300-26286-5
3880:978-0-931340-61-1
3863:Leonard Bernstein
3842:978-0-295-95308-3
3819:978-0-253-34112-9
3797:978-0-521-83483-4
3567:Psychiatric Times
3553:978-0-905210-12-4
3530:978-0-19-510330-4
3504:978-0-836-98034-9
3481:978-0-7524-7242-3
3458:978-0-198-16488-3
3432:978-0-859-67809-4
3413:978-1-4766-4388-5
3404:The Piano on Film
3394:978-0-826-49312-5
3371:978-0-313-30907-6
3340:The Musical Times
3329:978-0-226-82374-4
3307:978-1-57467-037-0
3284:978-0-253-21421-8
2752:, pp. 48–49.
2585:, pp. 52–54.
2363:, pp. 34–35.
2337:The Guardian 1902
2327:, pp. 94–95.
2204:, pp. 95–96.
2165:, pp. 94–95.
2048:, pp. 89–90.
2036:, pp. 74–75.
2012:, pp. 89–90.
1988:, pp. 88–89.
1976:, pp. 71–72.
1892:, pp. 87–88.
1856:, pp. 80–82.
1685:, pp. 94–96.
1673:, pp. 46–48.
1649:, pp. 44–45.
1569:978-0-83695-232-2
1297:Jascha Horenstein
1250:Arthur Rubinstein
1244:Leopold Stokowski
958:
939:
920:
894:
893:
886:
868:
718:(2 tenor, 1 bass)
501:Reginald De Koven
478:Modest Altschuler
132:Mitrofan Belyayev
4703:
4663:
4662:
4661:
4654:
4636:
4626:
4625:
4544:Preludes, Op. 32
4487:Preludes, Op. 23
4481:
4480:
4466:
4465:
4415:Lento in D minor
4408:
4407:
4377:
4376:
4309:Russian Rhapsody
4202:Symphonic Dances
4188:Isle of the Dead
4181:Caprice bohémien
4167:Prince Rostislav
4161:Suite in D minor
4109:
4108:
4080:
4079:
3999:
3992:
3985:
3976:
3975:
3966:Free sheet music
3959:: Scores at the
3945:
3923:
3884:
3860:
3846:
3834:
3823:
3801:
3789:
3775:
3756:
3749:The Music Review
3743:
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3717:
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3574:
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3508:
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3485:
3473:
3462:
3450:
3441:Norris, Geoffrey
3436:
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3398:
3386:
3375:
3356:
3333:
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2896:
2890:
2889:
2887:
2885:
2876:. CSO Archives.
2869:
2863:
2862:
2855:
2849:
2848:
2846:
2844:
2828:
2817:
2816:
2814:
2808:. Archived from
2807:
2798:
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2786:
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2774:
2765:
2759:
2753:
2747:
2741:
2735:
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1516:
1513:
1507:
1504:
1487:'s 1975 ballad "
1359:Leif Ove Andsnes
1216:
1215:
1202:
1201:
1196:
1195:
1184:
1134:
1103:
1102:
1093:
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875:
869:
867:
826:
802:
794:
711:
710:
675:
674:
619:A Quiet Night In
566:September Affair
561:William Dieterle
482:Isle of the Dead
473:Isle of the Dead
313:Alexander Siloti
286:Feodor Chaliapin
268:Alexander Siloti
224:Francesco Berger
96:Alexander Siloti
4711:
4710:
4706:
4705:
4704:
4702:
4701:
4700:
4671:
4670:
4669:
4665:Classical music
4659:
4657:
4649:
4647:
4642:
4614:
4600:Ivanovka estate
4578:
4553:
4478:
4477:
4464:
4426:Three Nocturnes
4405:
4404:
4384:Études-Tableaux
4374:
4373:
4365:Études-Tableaux
4321:
4316:Polka Italienne
4258:
4219:All-Night Vigil
4207:
4147:
4100:
4077:
4076:
4063:
4017:
4008:
4003:
3953:
3948:
3926:
3920:
3907:
3881:
3868:
3849:
3843:
3826:
3820:
3804:
3798:
3780:Keefe, Simon P.
3778:
3766:. 18/19: 1–23.
3759:
3746:
3737:
3733:
3731:Further reading
3728:
3703:
3701:
3684:
3682:
3640:
3638:
3620:
3618:
3582:
3577:
3554:
3531:
3505:
3482:
3459:
3433:
3414:
3395:
3372:
3347:(1896): 44–50.
3330:
3308:
3285:
3260:
3255:
3250:
3242:
3238:
3230:
3226:
3218:
3214:
3206:
3202:
3194:
3190:
3177:
3176:
3172:
3162:
3160:
3143:
3139:
3129:
3127:
3119:
3118:
3114:
3098:
3096:
3092:
3082:
3080:
3071:
3070:
3066:
3056:
3054:
3037:
3033:
3023:
3021:
3010:
3006:
2997:
2996:
2992:
2979:
2978:
2974:
2964:
2962:
2951:
2947:
2937:
2935:
2924:
2920:
2910:
2908:
2897:
2893:
2883:
2881:
2870:
2866:
2857:
2856:
2852:
2842:
2840:
2829:
2820:
2812:
2805:
2799:
2795:
2787:
2783:
2775:
2768:
2760:
2756:
2748:
2744:
2736:
2729:
2721:
2717:
2711:Classic FM 2024
2709:
2705:
2699:Classic FM 2023
2697:
2693:
2685:
2681:
2673:
2664:
2656:
2652:
2646:Carruthers 2006
2644:
2640:
2632:
2628:
2620:
2616:
2605:
2601:
2593:
2589:
2581:
2577:
2569:
2565:
2557:
2550:
2542:
2538:
2530:
2523:
2515:
2511:
2503:
2499:
2491:
2487:
2479:
2475:
2467:
2463:
2455:
2451:
2443:
2439:
2431:
2427:
2419:
2415:
2407:
2403:
2395:
2391:
2383:
2379:
2371:
2367:
2359:
2355:
2347:
2343:
2335:
2331:
2323:
2319:
2311:
2304:
2296:
2292:
2284:
2280:
2272:
2268:
2260:
2256:
2248:
2244:
2236:
2232:
2224:
2220:
2212:
2208:
2200:
2196:
2188:
2181:
2173:
2169:
2161:
2157:
2149:
2145:
2137:
2128:
2120:
2116:
2108:
2099:
2091:
2084:
2076:
2067:
2059:
2052:
2044:
2040:
2032:
2028:
2020:
2016:
2008:
2004:
1996:
1992:
1984:
1980:
1972:
1968:
1960:
1956:
1948:
1944:
1936:
1932:
1924:
1920:
1912:
1908:
1900:
1896:
1888:
1884:
1876:
1872:
1864:
1860:
1852:
1848:
1840:
1833:
1827:Cunningham 2001
1825:
1821:
1813:
1809:
1801:
1797:
1789:
1785:
1777:
1773:
1765:
1761:
1753:
1749:
1741:
1737:
1729:
1725:
1717:
1713:
1705:
1701:
1693:
1689:
1681:
1677:
1669:
1665:
1657:
1653:
1645:
1641:
1637:
1632:
1623:
1619:
1611:
1607:
1598:
1594:
1581:
1577:
1570:
1551:
1547:
1541:
1537:
1532:
1528:
1523:
1519:
1514:
1510:
1505:
1501:
1497:
1442:
1434:Gustavo Dudamel
1412:Daniil Trifonov
1381:Yuri Temirkanov
1367:Antonio Pappano
1228:
1213:
1212:
1199:
1198:
1193:
1192:
1174:
1121:
1100:
1099:
1087:
1078:
1077:
1068:
1067:
1052:
1051:
1021:of the concerto
1011:
1006:
990:
989:
981:
979:
978:
977:
976:
961:
953:
950:
944:
943:
942:
934:
931:
925:
924:
923:
915:
912:
905:
899:
890:
879:
873:
870:
827:
825:
815:
803:
792:
787:
708:
707:
672:
671:
631:
629:Instrumentation
611:Steve Pemberton
596:Brief Encounter
540:Geoffrey Norris
535:
505:Walter Damrosch
462:Richard Aldrich
407:
405:Early reception
351:
261:
121:
116:
24:
17:
12:
11:
5:
4709:
4699:
4698:
4693:
4688:
4683:
4668:
4667:
4644:
4643:
4641:
4640:
4630:
4619:
4616:
4615:
4613:
4612:
4607:
4602:
4597:
4592:
4586:
4584:
4580:
4579:
4577:
4576:
4571:
4565:
4563:
4559:
4558:
4555:
4554:
4552:
4551:
4546:
4541:
4540:
4539:
4534:
4529:
4524:
4519:
4514:
4509:
4504:
4499:
4494:
4484:
4472:
4470:
4463:
4462:
4457:
4452:
4447:
4440:
4433:
4428:
4423:
4418:
4411:
4400:
4393:
4388:
4380:
4369:
4361:
4356:
4351:
4344:
4337:
4329:
4327:
4323:
4322:
4320:
4319:
4312:
4305:
4300:
4295:
4290:
4286:Trio élégiaque
4282:
4278:Trio élégiaque
4274:
4266:
4264:
4260:
4259:
4257:
4250:
4243:
4236:
4229:
4222:
4215:
4213:
4209:
4208:
4206:
4205:
4198:
4191:
4184:
4177:
4170:
4163:
4158:
4152:
4149:
4148:
4146:
4145:
4140:
4133:
4128:
4123:
4120:Youth Symphony
4115:
4113:
4106:
4102:
4101:
4099:
4098:
4093:
4088:
4083:
4071:
4069:
4065:
4064:
4062:
4061:
4054:
4047:
4040:
4033:
4025:
4023:
4019:
4018:
4013:
4010:
4009:
4002:
4001:
3994:
3987:
3979:
3973:
3972:
3963:
3952:
3951:External links
3949:
3947:
3946:
3936:(105): 12–21.
3928:Walsh, Stephen
3924:
3918:
3905:
3895:
3885:
3879:
3866:
3847:
3841:
3824:
3818:
3806:Norris, Jeremy
3802:
3796:
3776:
3757:
3744:
3734:
3732:
3729:
3727:
3726:
3710:
3691:
3672:
3659:
3647:
3627:
3607:
3583:
3581:
3578:
3576:
3575:
3558:
3552:
3535:
3529:
3509:
3503:
3486:
3480:
3463:
3457:
3437:
3431:
3418:
3412:
3399:
3393:
3376:
3370:
3357:
3334:
3328:
3312:
3306:
3289:
3283:
3261:
3259:
3256:
3254:
3251:
3249:
3248:
3236:
3234:, p. 229.
3224:
3222:, p. 234.
3212:
3210:, p. 351.
3208:Biancolli 1998
3200:
3198:, p. 410.
3188:
3170:
3137:
3125:Sony Classical
3112:
3090:
3064:
3031:
3012:Distler, Jed.
3004:
2990:
2972:
2953:Distler, Jed.
2945:
2930:. ArkivMusic.
2926:Distler, Jed.
2918:
2899:Barnett, Rob.
2891:
2864:
2850:
2818:
2793:
2791:, p. 356.
2789:Steinberg 1998
2781:
2779:, p. 226.
2766:
2754:
2742:
2740:, p. 100.
2727:
2715:
2703:
2691:
2679:
2662:
2660:, p. 115.
2650:
2638:
2636:, p. 225.
2626:
2614:
2599:
2597:, p. 344.
2587:
2575:
2563:
2561:, p. 221.
2548:
2536:
2534:, p. 161.
2521:
2509:
2497:
2485:
2483:, p. 133.
2473:
2471:, p. 162.
2461:
2459:, p. 160.
2449:
2447:, p. 146.
2437:
2425:
2423:, p. 395.
2413:
2411:, p. 113.
2401:
2389:
2387:, p. 110.
2377:
2375:, p. 100.
2365:
2353:
2341:
2329:
2317:
2302:
2290:
2278:
2276:, p. 133.
2266:
2264:, p. 113.
2254:
2242:
2240:, p. 361.
2238:Steinberg 1998
2230:
2218:
2206:
2194:
2179:
2177:, p. 132.
2167:
2155:
2153:, p. 358.
2151:Steinberg 1998
2143:
2126:
2114:
2097:
2082:
2080:, p. 125.
2065:
2050:
2038:
2026:
2014:
2002:
1990:
1978:
1966:
1954:
1942:
1930:
1918:
1906:
1904:, p. 120.
1894:
1882:
1870:
1858:
1846:
1844:, p. 118.
1831:
1819:
1807:
1795:
1783:
1771:
1759:
1747:
1735:
1723:
1711:
1699:
1687:
1675:
1663:
1651:
1638:
1636:
1633:
1631:
1630:
1617:
1605:
1592:
1575:
1568:
1545:
1535:
1526:
1517:
1508:
1498:
1496:
1493:
1462:Percy Grainger
1454:Fritz Kreisler
1441:
1438:
1437:
1436:
1422:
1408:
1394:
1383:
1369:
1355:
1341:
1339:Valery Gergiev
1327:
1313:
1299:
1285:
1274:
1260:
1246:
1227:
1224:
1173:
1170:
1120:
1117:
1010:
1007:
1005:
1004:
1001:
998:
994:
980:
962:
951:
946:
945:
932:
927:
926:
913:
908:
907:
906:
897:
896:
895:
892:
891:
806:
804:
797:
791:
788:
786:
785:
784:
783:
778:
773:
768:
765:
751:
750:
749:
744:
739:
726:
725:
724:
719:
712:
700:
685:
684:
683:
677:
664:
658:
643:
630:
627:
623:figure skating
534:
531:
523:Hollywood Bowl
510:Liverpool Post
406:
403:
394:Vasily Safonov
372:Frederic Cowen
360:Arthur Nikisch
350:
347:
260:
257:
236:writer's block
197:Savva Mamontov
189:heavy drinking
172:First Symphony
140:Sergei Taneyev
128:First Symphony
120:
117:
115:
112:
81:writer's block
69:First Symphony
15:
9:
6:
4:
3:
2:
4708:
4697:
4694:
4692:
4689:
4687:
4684:
4682:
4679:
4678:
4676:
4666:
4656:
4655:
4652:
4639:
4635:
4631:
4629:
4621:
4620:
4617:
4611:
4608:
4606:
4603:
4601:
4598:
4596:
4593:
4591:
4588:
4587:
4585:
4581:
4575:
4572:
4570:
4567:
4566:
4564:
4560:
4550:
4547:
4545:
4542:
4538:
4535:
4533:
4530:
4528:
4525:
4523:
4520:
4518:
4515:
4513:
4510:
4508:
4505:
4503:
4500:
4498:
4495:
4493:
4490:
4489:
4488:
4485:
4483:
4474:
4473:
4471:
4467:
4461:
4460:Miscellaneous
4458:
4456:
4453:
4451:
4448:
4446:
4445:
4441:
4439:
4438:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4416:
4412:
4410:
4401:
4399:
4398:
4397:Polka de W.R.
4394:
4392:
4389:
4387:
4385:
4381:
4379:
4370:
4368:
4366:
4362:
4360:
4357:
4355:
4352:
4350:
4349:
4345:
4343:
4342:
4338:
4336:
4335:
4331:
4330:
4328:
4324:
4318:
4317:
4313:
4311:
4310:
4306:
4304:
4301:
4299:
4296:
4294:
4291:
4289:
4287:
4283:
4281:
4279:
4275:
4273:
4272:
4268:
4267:
4265:
4261:
4256:
4255:
4251:
4249:
4248:
4244:
4242:
4241:
4237:
4235:
4234:
4230:
4228:
4227:
4223:
4221:
4220:
4216:
4214:
4210:
4204:
4203:
4199:
4197:
4196:
4192:
4190:
4189:
4185:
4183:
4182:
4178:
4176:
4175:
4171:
4169:
4168:
4164:
4162:
4159:
4157:
4154:
4153:
4144:
4141:
4139:
4138:
4134:
4132:
4129:
4127:
4124:
4122:
4121:
4117:
4116:
4114:
4110:
4107:
4103:
4097:
4094:
4092:
4089:
4087:
4084:
4082:
4073:
4072:
4070:
4066:
4060:
4059:
4055:
4053:
4052:
4048:
4046:
4045:
4041:
4039:
4038:
4034:
4032:
4031:
4027:
4026:
4024:
4020:
4016:
4011:
4007:
4000:
3995:
3993:
3988:
3986:
3981:
3980:
3977:
3971:
3970:Cantorion.org
3967:
3964:
3962:
3958:
3955:
3954:
3943:
3939:
3935:
3934:
3929:
3925:
3921:
3915:
3911:
3906:
3904:
3900:
3896:
3894:
3890:
3886:
3882:
3876:
3872:
3867:
3864:
3858:
3857:
3852:
3848:
3844:
3838:
3833:
3832:
3825:
3821:
3815:
3811:
3807:
3803:
3799:
3793:
3788:
3787:
3781:
3777:
3773:
3769:
3765:
3764:
3758:
3755:(3): 176–216.
3754:
3750:
3745:
3741:
3736:
3735:
3723:
3722:
3716:
3711:
3700:
3696:
3692:
3681:
3677:
3673:
3669:
3665:
3660:
3657:
3653:
3648:
3637:
3633:
3628:
3617:
3613:
3608:
3604:
3600:
3596:
3592:
3591:
3585:
3584:
3572:
3568:
3564:
3559:
3555:
3549:
3544:
3543:
3536:
3532:
3526:
3521:
3520:
3514:
3510:
3506:
3500:
3495:
3494:
3487:
3483:
3477:
3472:
3471:
3464:
3460:
3454:
3449:
3448:
3442:
3438:
3434:
3428:
3424:
3419:
3415:
3409:
3405:
3400:
3396:
3390:
3385:
3384:
3377:
3373:
3367:
3363:
3358:
3354:
3350:
3346:
3342:
3341:
3335:
3331:
3325:
3321:
3317:
3313:
3309:
3303:
3298:
3297:
3290:
3286:
3280:
3275:
3274:
3268:
3263:
3262:
3245:
3240:
3233:
3228:
3221:
3216:
3209:
3204:
3197:
3192:
3184:
3180:
3174:
3158:
3154:
3153:
3148:
3141:
3126:
3122:
3116:
3109:
3108:Anna Fedorova
3105:
3101:
3094:
3078:
3074:
3068:
3052:
3048:
3047:
3042:
3035:
3019:
3015:
3008:
3000:
2994:
2986:
2982:
2976:
2960:
2956:
2949:
2933:
2929:
2922:
2906:
2902:
2895:
2879:
2875:
2868:
2860:
2854:
2838:
2834:
2827:
2825:
2823:
2811:
2804:
2797:
2790:
2785:
2778:
2773:
2771:
2764:, p. 53.
2763:
2762:Huckvale 2022
2758:
2751:
2750:Huckvale 2022
2746:
2739:
2738:Harrison 2006
2734:
2732:
2725:, p. 62.
2724:
2723:Huckvale 2022
2719:
2712:
2707:
2700:
2695:
2688:
2683:
2676:
2671:
2669:
2667:
2659:
2654:
2648:, p. 45.
2647:
2642:
2635:
2630:
2623:
2622:Saunders 1942
2618:
2612:
2608:
2603:
2596:
2595:Harrison 2006
2591:
2584:
2579:
2573:, p. 98.
2572:
2571:Harrison 2006
2567:
2560:
2559:Harrison 2006
2555:
2553:
2545:
2540:
2533:
2532:Harrison 2006
2528:
2526:
2519:, p. 83.
2518:
2513:
2507:, p. 40.
2506:
2501:
2494:
2489:
2482:
2481:Harrison 2006
2477:
2470:
2465:
2458:
2457:Harrison 2006
2453:
2446:
2441:
2435:, p. 41.
2434:
2429:
2422:
2417:
2410:
2409:Harrison 2006
2405:
2399:, p. 62.
2398:
2393:
2386:
2385:Harrison 2006
2381:
2374:
2369:
2362:
2357:
2351:, p. 94.
2350:
2349:Harrison 2006
2345:
2338:
2333:
2326:
2325:Harrison 2006
2321:
2315:, p. 61.
2314:
2309:
2307:
2300:, p. 79.
2299:
2294:
2287:
2282:
2275:
2270:
2263:
2258:
2252:, p. 32.
2251:
2246:
2239:
2234:
2227:
2222:
2216:, p. 97.
2215:
2210:
2203:
2198:
2192:, p. 60.
2191:
2186:
2184:
2176:
2171:
2164:
2159:
2152:
2147:
2141:, p. 94.
2140:
2135:
2133:
2131:
2124:, p. 78.
2123:
2118:
2112:, p. 93.
2111:
2110:Harrison 2006
2106:
2104:
2102:
2095:, p. 99.
2094:
2093:Harrison 2006
2089:
2087:
2079:
2074:
2072:
2070:
2063:, p. 31.
2062:
2057:
2055:
2047:
2046:Harrison 2006
2042:
2035:
2030:
2024:, p. 58.
2023:
2018:
2011:
2006:
2000:, p. 89.
1999:
1994:
1987:
1986:Harrison 2006
1982:
1975:
1970:
1964:, p. 34.
1963:
1958:
1952:, p. 88.
1951:
1946:
1940:, p. 57.
1939:
1934:
1928:, p. 28.
1927:
1922:
1916:, p. 87.
1915:
1910:
1903:
1898:
1891:
1890:Harrison 2006
1886:
1880:, p. 15.
1879:
1874:
1868:, p. 87.
1867:
1866:Harrison 2006
1862:
1855:
1850:
1843:
1838:
1836:
1828:
1823:
1816:
1815:Timoshin 2016
1811:
1805:, p. 51.
1804:
1799:
1793:, p. 78.
1792:
1791:Harrison 2006
1787:
1781:, p. 97.
1780:
1775:
1769:, p. 48.
1768:
1763:
1757:, p. 77.
1756:
1755:Harrison 2006
1751:
1745:, p. 23.
1744:
1739:
1733:, p. 61.
1732:
1727:
1721:, p. 22.
1720:
1715:
1709:, p. 76.
1708:
1707:Harrison 2006
1703:
1697:, p. 68.
1696:
1695:Harrison 2006
1691:
1684:
1679:
1672:
1667:
1661:, p. 67.
1660:
1655:
1648:
1643:
1639:
1627:
1621:
1615:
1609:
1602:
1596:
1589:
1585:
1579:
1571:
1565:
1560:
1559:
1549:
1539:
1530:
1521:
1512:
1503:
1499:
1492:
1490:
1489:All by Myself
1486:
1482:
1478:
1477:Frank Sinatra
1473:
1471:
1467:
1463:
1459:
1455:
1446:
1435:
1432:conducted by
1431:
1427:
1423:
1421:
1418:conducted by
1417:
1413:
1409:
1407:
1404:conducted by
1403:
1399:
1395:
1392:
1388:
1387:Anna Fedorova
1384:
1382:
1379:conducted by
1378:
1374:
1370:
1368:
1365:conducted by
1364:
1360:
1356:
1354:
1353:Andrew Litton
1351:conducted by
1350:
1346:
1345:Stephen Hough
1342:
1340:
1337:conducted by
1336:
1332:
1331:Evgeny Kissin
1328:
1326:
1323:conducted by
1322:
1318:
1314:
1312:
1309:conducted by
1308:
1304:
1300:
1298:
1295:conducted by
1294:
1290:
1286:
1283:
1279:
1275:
1273:
1270:conducted by
1269:
1265:
1261:
1259:
1256:conducted by
1255:
1251:
1247:
1245:
1242:conducted by
1241:
1237:
1233:
1232:
1231:
1223:
1221:
1208:
1204:
1190:
1185:
1183:
1178:
1169:
1167:
1163:
1157:
1154:
1152:
1148:
1144:
1140:
1135:
1133:
1128:
1126:
1116:
1114:
1113:
1108:
1095:
1092:
1091:
1085:
1073:
1065:
1061:
1057:
1047:
1041:
1039:
1034:
1032:
1028:
1020:
1015:
1002:
999:
996:
995:
993:
988:
986:
974:
970:
966:
963:Performed by
949:
930:
911:
888:
885:
877:
866:
863:
859:
856:
852:
849:
845:
842:
838:
835: –
834:
830:
829:Find sources:
823:
819:
813:
812:
807:This section
805:
801:
796:
795:
782:
781:double basses
779:
777:
774:
772:
769:
766:
764:
760:
759:
758:
756:
752:
748:
745:
743:
740:
738:
735:
734:
733:
731:
727:
723:
720:
717:
713:
705:
701:
698:
694:
693:
692:
690:
686:
682:
678:
669:
665:
663:
659:
657:
653:
652:
651:
649:
645:
644:
642:
640:
636:
626:
624:
620:
616:
612:
608:
607:
602:
601:Frank Borzage
598:
597:
592:
588:
587:
582:
578:
577:
572:
571:Charles Vidor
568:
567:
562:
557:
555:
550:
546:
545:Stephen Hough
541:
530:
528:
524:
520:
516:
512:
511:
506:
502:
498:
497:Armistice Day
494:
489:
487:
483:
479:
475:
474:
469:
468:
463:
458:
457:program notes
454:
450:
449:New York City
446:
442:
438:
430:
425:
421:
418:
417:
412:
402:
400:
395:
391:
386:
384:
379:
378:
373:
369:
365:
361:
357:
346:
343:
342:first subject
338:
332:
330:
326:
322:
321:orchestration
318:
314:
310:
305:
300:
297:
293:
292:
287:
283:
279:
278:
269:
265:
256:
253:
249:
245:
241:
237:
231:
229:
225:
221:
217:
216:
211:
205:
202:
198:
194:
190:
183:
181:
173:
168:
164:
162:
158:
154:
150:
145:
141:
137:
133:
129:
125:
111:
109:
105:
101:
97:
93:
88:
86:
82:
78:
74:
70:
65:
63:
59:
55:
51:
47:
43:
39:
30:
26:
22:
4562:Recognitions
4476:Prelude in C
4455:Three Pieces
4442:
4435:
4413:
4395:
4383:
4364:
4346:
4339:
4332:
4314:
4307:
4285:
4277:
4269:
4252:
4245:
4238:
4231:
4224:
4217:
4200:
4193:
4186:
4179:
4172:
4165:
4135:
4118:
4085:
4056:
4049:
4042:
4035:
4028:
3969:
3931:
3909:
3870:
3855:
3830:
3809:
3785:
3761:
3752:
3748:
3739:
3721:The Guardian
3719:
3702:. Retrieved
3698:
3683:. Retrieved
3679:
3667:
3639:. Retrieved
3636:The Guardian
3635:
3619:. Retrieved
3616:The Guardian
3615:
3589:
3570:
3566:
3541:
3518:
3492:
3470:Rachmaninoff
3469:
3447:Rachmaninoff
3446:
3422:
3403:
3382:
3361:
3344:
3338:
3319:
3295:
3272:
3244:Manheim 2006
3239:
3227:
3215:
3203:
3191:
3182:
3173:
3161:. Retrieved
3152:The Guardian
3150:
3140:
3128:. Retrieved
3115:
3093:
3081:. Retrieved
3067:
3055:. Retrieved
3046:The Guardian
3044:
3034:
3022:. Retrieved
3007:
2993:
2984:
2975:
2963:. Retrieved
2948:
2936:. Retrieved
2921:
2909:. Retrieved
2903:. Crotchet.
2894:
2882:. Retrieved
2867:
2853:
2841:. Retrieved
2810:the original
2796:
2784:
2777:Bullock 2022
2757:
2745:
2718:
2706:
2694:
2682:
2653:
2641:
2634:Bullock 2022
2629:
2617:
2602:
2590:
2578:
2566:
2539:
2512:
2505:Bullock 2022
2500:
2488:
2476:
2464:
2452:
2440:
2428:
2416:
2404:
2392:
2380:
2368:
2356:
2344:
2332:
2320:
2293:
2281:
2269:
2257:
2245:
2233:
2221:
2209:
2197:
2170:
2158:
2146:
2117:
2041:
2029:
2017:
2005:
1993:
1981:
1969:
1957:
1945:
1933:
1921:
1909:
1897:
1885:
1873:
1861:
1849:
1829:, p. 4.
1822:
1810:
1798:
1786:
1774:
1762:
1750:
1738:
1726:
1714:
1702:
1690:
1678:
1666:
1654:
1642:
1625:
1620:
1608:
1595:
1578:
1557:
1548:
1538:
1529:
1520:
1511:
1502:
1474:
1457:
1451:
1325:André Previn
1258:Fritz Reiner
1229:
1209:
1205:
1186:
1179:
1175:
1168:in E major.
1158:
1155:
1136:
1129:
1122:
1110:
1106:
1096:
1089:
1088:
1083:
1074:
1060:relative key
1045:
1042:
1035:
1025:The opening
1024:
1017:First eight
991:
982:
880:
871:
861:
854:
847:
840:
828:
816:Please help
811:verification
808:
753:
728:
687:
646:
632:
625:programmes.
615:Inside No. 9
604:
594:
584:
581:Billy Wilder
579:(1954), and
574:
564:
558:
549:The Guardian
548:
536:
526:
517:leading the
508:
490:
481:
471:
465:
434:
414:
408:
387:
377:The Guardian
375:
364:Queen's Hall
352:
333:
301:
289:
275:
273:
244:Nikolai Dahl
232:
213:
206:
185:
177:
122:
89:
85:Nikolai Dahl
66:
60:composed by
37:
35:
25:
4610:Romanticism
4605:Villa Senar
4421:Four Pieces
4058:Monna Vanna
2658:Norris 2001
2611:Scott Davie
2583:Norris 2001
2493:Seroff 1950
2433:Norris 2001
2421:Martyn 2017
2361:Norris 2001
2298:Seroff 1950
2286:Martyn 2017
2274:Seroff 1950
2262:Norris 2001
2250:Norris 2001
2226:Norris 2001
2214:Norris 2001
2175:Martyn 2017
2122:Seroff 1950
2078:Martyn 2017
2061:Norris 2001
2034:Seroff 1950
1974:Seroff 1950
1962:Martyn 2017
1926:Norris 2001
1902:Martyn 2017
1842:Martyn 2017
1779:Martyn 2017
1743:Norris 2001
1731:Seroff 1950
1719:Norris 2001
1683:Martyn 2017
1601:Paris Opera
1588:opus number
1584:Suite No. 2
1552:Cited from
1485:Eric Carmen
1406:Paavo Järvi
1278:Van Cliburn
1139:arpeggiated
1009:I. Moderato
910:1. Moderato
767:2nd violins
453:Philip Hale
441:Max Fiedler
383:installment
329:opus number
317:Ivan Lipaev
309:mulled wine
277:Mefistofele
240:Leo Tolstoy
77:Leo Tolstoy
48:. 18, is a
4675:Categories
4403:Étude in F
4326:Solo piano
4112:Symphonies
4105:Orchestral
3267:Leyda, Jay
2985:kissin.org
2675:Hough 2008
2517:Scott 2007
2397:Scott 2007
2313:Scott 2007
2190:Scott 2007
2022:Scott 2007
1938:Scott 2007
1878:Chung 1988
1803:Scott 2007
1767:Scott 2007
1671:Scott 2007
1647:Scott 2007
1635:References
1226:Recordings
1149:solo. The
1112:fortissimo
1107:Meno mosso
1064:exposition
985:media help
874:April 2022
844:newspapers
730:Percussion
591:David Lean
554:Classic FM
193:Depression
119:Background
4240:The Bells
4137:The Bells
3597:thesis).
3232:Tall 1981
3220:Tall 1981
3130:22 August
1458:Preghiera
1426:Yuja Wang
1400:with the
1373:Yuja Wang
1289:Earl Wild
1046:piu mosso
790:Structure
742:bass drum
716:trombones
668:clarinets
648:Woodwinds
639:orchestra
445:Baltimore
416:The Times
296:movements
161:CĂ©sar Cui
92:movements
58:orchestra
4628:Category
4479:♯
4469:Preludes
4406:♯
4386:, Op. 39
4375:♭
4367:, Op. 33
4254:Vocalise
4174:The Rock
4078:♯
4068:Concerto
4051:SalammbĂ´
3903:AllMusic
3893:AllMusic
3853:(1960).
3808:(1994).
3782:(2005).
3772:40214017
3763:Intégral
3656:AllMusic
3641:14 April
3621:14 April
3603:Archived
3515:(1998).
3443:(2001).
3353:25434403
3318:(2022).
3269:(1956).
3163:10 April
3157:Archived
3077:Archived
3051:Archived
3018:Archived
2959:Archived
2932:Archived
2905:Archived
2878:Archived
2837:Archived
1214:♭
1200:♭
1194:♭
1147:clarinet
1101:♭
1084:piĂą vivo
1079:♭
1069:♭
1053:♭
1027:movement
967:and the
709:♭
704:trumpets
681:bassoons
673:♭
576:Rhapsody
569:(1950),
282:La Scala
252:triptych
248:hypnosis
215:The Rock
50:concerto
4583:Related
4263:Chamber
3704:1 April
3685:29 June
3253:Sources
3104:YouTube
3083:4 March
3057:4 March
3024:4 March
2965:4 March
2938:4 March
2911:4 March
2884:4 March
2843:4 March
1203:major.
1166:soloist
1125:C minor
1082:major "
975:, 1959.
858:scholar
763:violins
755:Strings
747:cymbals
737:timpani
521:at the
325:Gutheil
199:at the
163:wrote:
114:History
108:Gutheil
42:C minor
4651:Portal
4233:Spring
3942:942978
3940:
3916:
3877:
3839:
3816:
3794:
3770:
3550:
3527:
3501:
3478:
3455:
3429:
3410:
3391:
3368:
3351:
3326:
3304:
3281:
1566:
1424:2023:
1410:2018:
1396:2017:
1385:2013:
1371:2011:
1357:2005:
1343:2004:
1329:1988:
1315:1971:
1301:1970:
1287:1965:
1276:1962:
1262:1959:
1248:1956:
1234:1929:
1162:phrase
1058:, the
971:under
860:
853:
846:
839:
831:
776:cellos
771:violas
656:flutes
399:rubles
358:under
4638:Audio
4482:minor
4409:major
4378:minor
4288:No. 2
4280:No. 1
4212:Vocal
4081:minor
4030:Aleko
4022:Opera
3938:JSTOR
3933:Tempo
3768:JSTOR
3580:Other
3349:JSTOR
2813:(PDF)
2806:(PDF)
1628:(CT).
1495:Notes
1428:with
1414:with
1389:with
1375:with
1361:with
1347:with
1333:with
1319:with
1305:with
1291:with
1280:with
1266:with
1252:with
1238:with
1151:motif
1143:flute
1056:major
1031:theme
865:JSTOR
851:books
697:horns
689:Brass
662:oboes
635:piano
54:piano
3914:ISBN
3875:ISBN
3837:ISBN
3814:ISBN
3792:ISBN
3706:2024
3687:2023
3643:2022
3623:2022
3573:(9).
3548:ISBN
3525:ISBN
3499:ISBN
3476:ISBN
3453:ISBN
3427:ISBN
3408:ISBN
3389:ISBN
3366:ISBN
3324:ISBN
3302:ISBN
3279:ISBN
3165:2021
3132:2022
3085:2021
3059:2021
3026:2021
2967:2021
2940:2021
2913:2021
2886:2021
2845:2021
1564:ISBN
1189:oboe
1019:bars
837:news
761:1st
722:tuba
706:in B
699:in F
670:in B
637:and
447:and
337:O.S.
304:O.S.
104:O.S.
100:O.S.
56:and
52:for
36:The
3901:at
3891:at
3654:at
3595:DMA
3345:147
3102:on
1090:fff
820:by
613:'s
603:'s
583:'s
573:'s
563:'s
455:'s
280:in
40:in
4677::
4537:10
3753:40
3751:.
3718:.
3697:.
3678:.
3666:.
3634:.
3614:.
3601:.
3571:33
3569:.
3565:.
3343:.
3181:.
3155:.
3149:.
3123:.
3106:,
3049:.
3043:.
2983:.
2821:^
2769:^
2730:^
2665:^
2609:,
2551:^
2524:^
2305:^
2182:^
2129:^
2100:^
2085:^
2068:^
2053:^
1834:^
1472:.
1222:.
714:3
702:2
695:4
679:2
666:2
660:2
654:2
641::
385:.
284:,
46:Op
44:,
4653::
4532:9
4527:8
4522:7
4517:6
4512:5
4507:4
4502:3
4497:2
4492:1
3998:e
3991:t
3984:v
3944:.
3922:.
3883:.
3865:)
3845:.
3822:.
3800:.
3774:.
3708:.
3689:.
3645:.
3625:.
3593:(
3556:.
3533:.
3507:.
3484:.
3461:.
3435:.
3416:.
3397:.
3374:.
3355:.
3332:.
3310:.
3287:.
3246:.
3167:.
3134:.
3087:.
3061:.
3028:.
3001:.
2987:.
2969:.
2942:.
2915:.
2888:.
2861:.
2847:.
2713:.
2701:.
2689:.
2677:.
2624:.
2339:.
1817:.
1572:.
1211:D
1050:E
987:.
887:)
881:(
876:)
872:(
862:·
855:·
848:·
841:·
814:.
757::
732::
691::
650::
23:.
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