SERGEY RAHMANİNOV’UN OP.32 NO.13 RE BEMOL MAJÖR PRELÜDÜ ÜZERİNE BİR ANALİZ

Yıl 2021, , 1 - 14, 15.04.2021

Başar Can Kıvrak

https://doi.org/10.47956/bmsd.866567

Öz

Frederic Chopin’in sayesinde evrim geçirmiş olan prelüt formunda, birçok besteci gibi Sergey Rahmaninov da bir dizi eser bestelemiştir. Bu eserlerin sonuncusu olan op.32 no.13 re bemol majör prelüt, yoğun piyano yazısı ve karmaşık müzikal yapısıyla icrası zor bir eser olarak bilinmektedir. Aynı zamanda bu eser, kronolojik olarak kendisinden önce gelen bazı prelütlerden çeşitli alıntılar içermektedir. Bir müzik eserini icra ederken o eseri oluşturan en küçük motifleri incelemek, eserin bütününü anlamak ve eserin zorluklarının üstesinden gelmek açısından önem taşımaktadır. Bu çalışmada eserin içindeki küçük motifler ve alıntılar incelenmiş ve söz konusu küçük birimlerin yorumlanmasıyla ilgili önerilerde bulunulmuştur. Bu sayede prelüdün müzikal ve teknik anlamda daha anlaşılır olması amaçlanmıştır.

Anahtar Kelimeler

Sergey Rahmaninov, Prelüt, Piyano Repertuvarı

An Analysis on The Interpretation of Motifs Contained in Op.32 No.13 D Flat Major Prelude By Sergei Rachmaninoff

Öz

Russian pianist and composer Sergey Rachmaninoff is among the many other composers who have created a series of works in the prelude form, which had undergone an evolutionary shift in the nineteenth century with Frederic Chopin. Being the last of the series, the prelude in D flat Major op.32 no.13 is known to be a challenging work fort he performer, with its intense piano writing and complex musical structure. The prelude also contains various excerpts from previous preludes in chronological order. Analysing even the slightest motifs is crucial to the performance of a musical work, since this would provide a means to comprehend the composition in its entirety and overcome its many challanges for the performer. In this study, the small motifs and excerpts contained in the work have been analysed and suggestions made as to the interpretation of these units. In this way, it is aimed to provide a better understanding in the prelude in both musical and technical terms, and also to emphasize his ingenuity in processing these themes and musical motifs. His thematic approach which in contrast to most of his peers, has retained elements of the nineteenth century tradition, has been analysed in the light of this last prelude.

Anahtar Kelimeler

Russian Composers, Sergei Rachmaninoff, Prelude, Piano repertoire, Motif

Kaynakça

• KAYNAKÇA Bertensson, Sergei, Leyda, Jay, Sergei Rachmaninoff A Lifetime in Music, 2. Baskı, Indiana University Press, Indianapolis, Ocak 2002.
• Cunnungham Jr, Robert E, A Bio-Bibliography, 1. Baskı, Greenwood Press, Londra, 2001.
• Meier, Marilyn, Anne, “Chopin Twenty-four Preludes Opus 28”, (Doktora tezi, University of Wollongong, 1993).
• Martyn, Barrie, Rachmaninoff: Composer, Pianist, Conductor, 1. Baskı, Ashgate Publishing, New York, 1990.
• Naplekova, Anastasiya, “Interpretative Aspects in Rachmaninoff’s Transcriptions For Piano Solo: A Performer’s Guide”, (Doktora tezi, University of Miami, 2016).
• Rachmaninoff, Sergei, Rachmaninoff Album. Universial Edition, Viyana, 1910.
• __________________24 Prelyudi dlia Fortepiano, Muzgiz, Moskova, 1948.
• Say, Ahmet, Müzik Sözlüğü, 1. Baskı, Müzik Ansiklopedisi Yayınları, Ankara, Eylül 2002.
• Young, Jonathan, “Rachmaninoff’s “Concealed Variation” Principle: Inspiration For Motivic Unity In His Preludes, Op.32”, (Doktora tezi, University of Kansas, 2011).