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N. Didenko

S. Rachmaninoff in the Dialogue with the Baroque Era

The article is devoted to the Baroque sources of the piano heritage by S. Rachmaninoff. These sources are characterized on the example of the transcription of I. S. Bach’s solo violin pieces (Prelude, Gavotte and Gigue from Partita in D Major) arranged by S. Rachmaninoff in 1933 and later recorded (1942). The researcher considers the version of some specialists regarding to the origin of the transcription itself as consequence of creative collaboration between S. Rachmaninoff and the outstanding violinist F. Kreisler. This version for all its superficial convincingness requires the essential addition. The adduced facts venture to assert that S. Rachmaninoff as early as in 1910s mentioned about his interest to J. S. Bach’s heritage for clavier (the paper «My Prelude in C sharp Minor»). During 1910–1920s a great pianist purposefully extended his Bach’s repertoire performing both original works and appropriate transcriptions by F. Liszt, K. Tausig and F. Busoni. Hence the appearance of the two pieces at once to be inspired by the idea of dialogue with the Baroque era and distinctively interpreted the principles of composition and performing techniques of the named era («Variations on a theme by Corelli» and Bach’s «Triptych», or «Suite») seems to the author of the article quite appropriate.

Key words

S. Rachmaninoff, piano transcription, the Baroque compositional techniques, F. Kreisler, ”Prelude, Gavotte and Gigue” by I. S. Bach in origin.