Vadym Rakochi
Biographic Data
| ID | 3440601 |
|---|---|
| NAME | Vadym Rakochi |
| GIVEN NAMES | Vadym |
| FAMILY NAME | Rakochi |
| SIGNATURE | RAKOCHI V |
| AFFILIATIONS | Kyiv Institute of Music. R. Glier |
| ORCID | 0000-0003-4025-2213 |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto
The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains
Transformation of Orchestration in Rachmaninoff’s Rhapsody on a Theme of Paganini and Jazz Idioms
The breadth of the orchestra’s transformation in Rachmaninoff’s Rhapsody on a Theme by Paganini in comparison with his concertos and the impact of jazz on this process have not been thoroughly examined yet, despite the fact that a number of research works has been written on the subject, even though it was the element of jazz which introduced a new level of freedom to the composer’s use of the orchestra. The presence of jazz in this work was demo…
The Concerto and Symphonic Principles in the Scherzo from Mahler’s Ninth Symphony
The article is devoted to the analysis of features of the concerto genre in the Scherzo from Gustav Mahler’s Ninth Symphony and the interaction of traits of the concerto and symphonic genres within the framework of Mahler’s conception of the orchestra, – the reliance on solo and chamber-like combinations of instruments (“ensembles-in-the-orchestra”). The orchestra in the Scherzo (along with harmonic and timbral differentiation) provides a most cr…
Genesis of the Concerto for Orchestra
The main goal of this article is to classify the origins of the concerto for orchestra and thus to determine its genesis. The methodologies applied include the analytical (study of literature), the functional (concerto for orchestra in the context of musical culture), and the historical (transformation of the genre due to the evolution of orchestral thinking) approaches. A mainstream tendency for synthesis of different styles within the disappear…
No prominent works on this page.
Transformation of Orchestration in Rachmaninoff’s Rhapsody on a Theme of Paganini and Jazz Idioms
The breadth of the orchestra’s transformation in Rachmaninoff’s Rhapsody on a Theme by Paganini in comparison with his concertos and the impact of jazz on this process have not been thoroughly examined yet, despite the fact that a number of research works has been written on the subject, even though it was the element of jazz which introduced a new level of freedom to the composer’s use of the orchestra. The presence of jazz in this work was demo…
The Concerto and Symphonic Principles in the Scherzo from Mahler’s Ninth Symphony
The article is devoted to the analysis of features of the concerto genre in the Scherzo from Gustav Mahler’s Ninth Symphony and the interaction of traits of the concerto and symphonic genres within the framework of Mahler’s conception of the orchestra, – the reliance on solo and chamber-like combinations of instruments (“ensembles-in-the-orchestra”). The orchestra in the Scherzo (along with harmonic and timbral differentiation) provides a most cr…
Genesis of the Concerto for Orchestra
The main goal of this article is to classify the origins of the concerto for orchestra and thus to determine its genesis. The methodologies applied include the analytical (study of literature), the functional (concerto for orchestra in the context of musical culture), and the historical (transformation of the genre due to the evolution of orchestral thinking) approaches. A mainstream tendency for synthesis of different styles within the disappear…
Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto
The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains
Musicology and Musical Analysis (4 works) · Art (3 works) · Literature (3 works) · Art history (2 works) · Cadenza (2 works) · Concerto (2 works) · Diverse Musicological Studies (2 works) · Musical (2 works) · Orchestration (2 works) · Aesthetics (1 work)