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Music and Time

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S. Rachmaninov, First Сoncert op.1, Two Versions: 1st Edition (1890–1891) – New Edition (1917)
S.Ya. Vartanov

The article is the first part of a diptych devoted to the problems of the concept in the ops, opening and ending the genre of the piano concert, the main one in the work of Sergei Rachmaninoff. “Youth, husband, god” - this is how Liszt characterized the three periods of Beethoven’s work; Rachmaninoff’s concerts reflect the same stages in the evolution of the great composer-pianist of the 20th century. The first concert, Op. 1, created as a student at the Moscow Conservatory and radically revised before Rachmaninoff’s departure for emigration, will constitute the first part of the diptych. The second part of the diptych will be dedicated to the Rhapsody on a Theme by Paganini op.43 – the composer’s last piano work. The articles develop the ideas put forward by the author in the monograph: Vartanov S.Ya. "Concept in Piano Interpretation: Under the Sign of F. Liszt and S. Rachmaninoff". Moscow: Composer, 2013. 584 p. The proposed method of integrating the concept corresponds to the approaches of modern humanities - the concept is considered as a result of diffuse interpenetration of five forms of performer’s perception and the corresponding types of text. Acoustic text – auditory perception; the author’s musical text - visual perception of the musical text; plastic text – touchtactile sensation of the keyboard; intertext – each text is a mosaic of citations of many other cultural texts; mental text of interpretation – associative theatrical and directorial thinking of the pianist-interpreter, the final resulting text based on the named types of text, as a manifestation, integration of the concept in his imaginary “theater of one actor”. Of particular importance is the concept that we introduce into theory and practice: a motiveplastic sign (MPZ) is a tool for integrating a concept that unites all types of thinking and perception of an interpreter.
Keywords: genre of a concert in Rachmaninoff’s work, evolution of the author’s image, components of concept integration, motive-plastic sign (MPZ).

Pp. 08-16.

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