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【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Rachmaninoff 6 Moments Musicaux Musical Moments Op.16
No.1 16-1 Andantino in B flat minor
拉哈曼尼諾夫 拉赫曼尼諾夫 樂興之時 作品16
拉哈曼尼诺夫 拉赫曼尼诺夫 乐兴之时 作品16
Rajmáninov Six Moments Musicaux Op.16
ラフマニノフ 楽興の時 作品16
piano 鋼琴 钢琴 ピアノ
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Rachmaninoff #Moments #Musicaux
No.1 16-1 Andantino in B flat minor
No.2 16-2 Allegretto in E flat minor
No.3 16-3 Andante cantabile in B minor
No.4 16-4 Presto in E minor
No.5 16-5 Adagio sostefdnuto in D minor major
No.6 166 Maestoso in C major
Six moments musicaux (Six Musical Moments), Op. 16, is a set of solo piano pieces composed by the Russian composer Sergei Rachmaninoff between October and December 1896. Each Moment musical reproduces a musical form characteristic of a previous musical era. The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations.
The individual pieces have been described as "true concert works, being best served on a stage and with a concert grand." Although composed as part of a set, each piece stands on its own as a concert solo with individual themes and moods. The pieces span a variety of themes ranging from the funeral march of number three to the canon of number six, the Moments musicaux are both Rachmaninoff's return to and revolution of solo piano composition. A typical performance lasts 30 minutes.
In an interview in 1941, Rachmaninoff said, "What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing." Even though Moments musicaux were written because he was short of money, the pieces summarize his knowledge of piano composition up to that point. Andantino opens the set with a long, reflective melody that develops into a rapid climax. The second piece, Allegretto, is the first of the few in the set that reveal his mastery of piano technique. Andante cantabile is a contrast to its two surrounding pieces, explicitly named "funeral march" and "lament." Presto draws inspiration from several sources, including the Preludes of Frédéric Chopin, to synthesize an explosion of melodic intensity. The fifth, Adagio sostenuto is a respite in barcarolle form, before the finale Maestoso, which closes the set in a thick three-part texture.
1. Andantino, B♭ minor
In Andantino, the Con moto shows off the long melody in a compound meter (7/4).
The first piece has an andantino (moderate) tempo, is 113 measures long, and is marked at 72 quarter notes per minute. It is divided into three distinct sections. The first presents a theme in common time (4/4) with a typical nocturne figure for the left hand. A mid-piece pause at roughly the same area in Schubert's first Moments musicaux further emphasizes the influence of Schubert. The second part is marked con moto (with motion), at 76 quarter notes per minute, and is a variation of the first theme in the unusual configuration of seven quarter notes per measure (7/4). This part ends in a cadenza. The third section presents the last variation of the theme, again in common time, but in the fastest tempo yet, Andantino con moto, at 84 quarter notes per minute. The piece ends in a coda that returns to the first tempo, and repeats portions of the previous three parts. It ends with a perfect authentic cadence into B♭ minor.
Andantino is the longest in the set by playing time (about 8:30). It is described as a "generic-hybrid," combining elements of the nocturne and theme and variation genres. The melody is chromatic, syncopated, and long, all idiosyncratic elements Rachmaninoff often includes in his works. Because of this, the Andantino is sometimes called an extension of his Nocturne in A minor of the Morceaux de Salon set (Op. 10, No. 1, 1894). However, Andantino stands on its own with difficulties, such as the sections with multiple phrases in a single hand. |