Rachmaninov’s Vocalise arranged for flute and piano in the key of E minor. The playback tempo of the realisation is 56 quarter note (crotchet) beats Show More...
Rachmaninov’s Vocalise arranged for flute and piano in the key of E minor. The playback tempo of the realisation is 56 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound. Accompaniments are available both with and without repeats. They play at 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect. The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note for flute is ambiguously notated and depending on the instrumentalist’s breath control can be as long as possible. The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section. The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated. This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor. Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names. His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures. The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer. Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries. Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing. Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequenly his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
Rachmaninov’s Vocalise arranged for cello and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conductor who Show More...
Rachmaninov’s Vocalise arranged for cello and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conductor who like many of his generation left his home country to live abroad because of the political turmoil. The playback tempo of the realisation is 56 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound. Accompaniments are available both with and without repeats. They play at 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. For those requiring additional accompaniments please contact the PlentyMusic team with an indication of the tempo that is required. As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately, streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect. The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note needs to sound as long as possible but is notated as in the vocal score where the length of the note no doubt depended on the singers breath control. Instrumentalists will observe that that are some melodic alternatives playing the melody indicated as small notes although they are not used in realisation. The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section. The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated. This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor. Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names. His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures. The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer. Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries. Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing. Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequently his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
Rachmaninov’s Vocalise arranged for trombone and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conducto Show More...
Rachmaninov’s Vocalise arranged for trombone and piano in the key of E minor. Sergie Rachmaninov was a Russian born composer, pianist and conductor who like many of his generation left his home country to live abroad because of the political turmoil. The playback tempo of the realisation is 52 quarter note (crotchet) beats per minute although it is an eighth note (quaver) pulse that predominates. The playback score has the repeats in place but the trills indicated in the score do not sound. Accompaniments are available both with and without repeats. They play at 50, 52, 54, 56, 58 & 60 quarter note (crotchet) beats to the minute. The score with repeats is 70 bars and without 39 bars in length. For those requiring additional accompaniments please contact the PlentyMusic team with an indication of the tempo that is required. Use the reference tempo map. As a challenging music score to read with many accidentals careful reading of the notes is essential. Listening to performances of the work played by different instrument combinations would be a sensible approach to for instrumentalists to become familiar with the sound of the score. Fortunately streaming media provides many excellent opportunities for this. Understand that much can also be learn from performances that are possibly far from perfect. The pianist will need to use the sustaining pedal although it’s use is not indicated in the sheet music score. Both the soloist and accompanying piano player will need to demonstrate very good playing technique to achieve a legato in a performance. The challenge when playing this score is to make it sound easy to play. This is an excellent piece for all those playing the solo part to improve their intonation. The voicing of the lines is a composing element that needs to be explored particularly to understand how dissonances are created and managed. Rachmaninov’s musical textures are frequently complex. What needs to be explored performing this music is the beauty of sound and its lyricism rather than any dramatic element. The last note needs to sound as long as possible but is notated as in the vocal score where the length of the note no doubt depended on the singers breath control. Instrumentalists will observe that that are some melodic alternatives playing the melody indicated as small notes although they are not used in realisation. The music is composed in two sections with each section intended to be repeated. There is an 8 bar closing section or coda which references the music of the opening A section. The falling sixteenth note (semi quaver) motif needs to be given some prominence in a performance especially when it is imitated. This particular movement from the music setting point of view provides some challenges evident from the many scores that contain inaccuracies and copying errors. The original key of the movement was C# minor. Rachmaninov & Tchaikovsly both composed music melancholy in character. Vocalise is a work that can be played by many different instrument combinations although it was originally written for a soprano voice. Rachmaninov’s harmonic language identifies with the late romantics and stylistically his music is always distinctive and readily identifiable a trait unique to great composers. Rachmaninov was one of the great pianists of his day often including Tchaikovsky’s piano music in his recitals. Be aware & familiar with the several different spellings of both composer’s names. His music possesses a great sense of melody, harmonic colour and supreme understanding of piano writing particular with complex linear textures. The dedicatee of Rachmaninov’s Vocalise was Antonia Nezdanova, a Russian soprano and she gave the first performance of the work in an arrangement for soprano & orchestra. The intention in this particular version of the work was for the melody line to sung or vocalised to a vowel sound chosen by the singer. Whilst Rachmaninov’s dates suggest that he is a 20th century composer he should be regarded as belonging to the late romantic era. In many ways his music references the past rather than that of his contemporaries. Sadly, Because he emigrated to the USA his working life in his newly adopted country became focused on performing rather than composing. Sergie Rachmaninov was a great pianist and composer. He was a generally austere, severe and remote character except to those in the Russian emigré community in the US and other familiar & close people such as his personal piano tuner. He had large hands and could manage big stretches on the piano with ease. He left Russia to live in Germany before moving to New York in 1918. Whilst living in USA he lived and worked mostly as a concert pianist and recitalist and consequently his contribution to the repertoire was sadly not as great as it perhaps could have been. Like Tchaikovsky Rachmaninov often struggled with his mental health particularly if a composition was poorly received after a first performance. He was influenced by the music of Tchaikovsky and was a composer of late tonal romantic music often with chromatic harmony. Close
