Rachmaninoff : Sonata No.1 in D Minor,Op.28 (Lugansky,Chochieva)

[쿤타킨테]

MVT I
INTRODUCTION (INT.)
00:00 – Motif 1 (M1) is introduced – a 5th. Following it is a C#-D cell (M1.2). M1/1.2 repeated thrice.
EXPOSITION
00:35 – Theme Group 1 (TG1), Theme 1. Containing Motif 2, the RH C-D-F.
00:49 – Movement into Neapolitan (D-Eb, following from C#-D)
01:01 – Back into Dm. M1 used extensively
01:07 – INT. quote
01:17 – Long transition theme, built around M2.
01:41 – M2* (modified M2) appears in RH/LH. Initial C-D is reversed in direction, and rhythmic emphasis changed. At 2:00 three-note descending chromatic motif is heard (M.chr)
02:32 – Theme Group 2 (TG2), Theme 1. Chant.
03:15 – TG2, T1, Variant. Less static, upward movement
03:44 – TG2, T2. Oriental/exotic flavor.
04:01 – Development Motif (M3) introduced: scale in bass, later presented plainly.
DEVELOPMENT
04:14 – INT. Cm to Dm
04:32 – M3 in bass, under diminished chord in RH
04:40 – INT. Dm to Em
04:56 – M3 in bass, inverted in RH (diminished chord with gaps filled in)
05:11 – Development of TG2 T2. LH is ingeniously based on M.chr
05:21 – M3. Now triplets rise in RH, scale descends in LH
05:32 – Development of TG2 T2
05:43 – M4. Rising in LH, falling in RH in augmentation in canon. Elaboration continues. At 6:04 RH has M4 in contrary motion, with only upper voice augmented
06:14 – New texture. Based in LH on M1 and M1.2, and increasingly on M3 (now chromatic). 7:02 modifies texture, with descending scale in RH and quivering bass.
07:32 – Climax. At 8:04 M3 is introduced in the LH which carries on relentlessly until 8:15
RECAPITULATION
08:19 – An incredible moment. TG2 T1, but in Db! Slow drift from Db into D – a move prepared by the C#-D in the INT.; M1.2 used structurally. At 8:46 INT. lunges from the murk, then again at 8:54. Most recapitulations have a clear beginning dramatically releasing the tension of the development, but this recapitulation seems not to know what it is at first.
09:06 – TG1 T1. At 9:22 TG2 T1 in LH.
09:28 – Transition theme slowly emerges with M.chr, interspersed with INT. and TG2 T2 at 9:32. Note M.chr in bass at 9:43, in rhythmically changed form at 9:38, etc.
09:50 – After much-shortened transition, TG2 T1 in Dm, also truncated. Note M.chr emerging in LH at 9:58 and its regular re-appearances
10:39 – TG2 T2, now as a huge climax.
11:00 – M1. Recalling 1:01.
11:06 – Transition passage extending M.chr
11:20 – Resolution into D. Note the emergence at 11:26/11:35/11:43 of M2* in LH—this will be the theme of the next movement!
11:28 – TG2 T2. At 11:54 the closing of TG2 T2 is revealed to be a relative of M3
CODA
12:08 – TG2 T1
12:36 – M3
12:51 – M1.2 + M1, palindrome

MVT II
13:12 – INTRODUCTION. M1 in LH, as 3 chains of falling 5ths. First in quarter notes, then minims, then quavers.
13:55 – A SECTION M1 in LH; melody is essentially M2*
15:29 – B SECTION Note developmental nature and its incessant use of M2*. At 17:17 the cadenza is drawn from Mvt 1, TG2 T2.
17:29 – (INTRODUCTION) Note the use of M1 + M1.2 (high descending 5ths at 18:01++)
18:13 – A SECTION
19:52 – CODA. A ecstatic descending scale (M3), gorgeously decorated. Note how the trills oscillate between the interval of a 5th. At 20:36 M2* reappears a few times before the movement closes.

MVT III
EXPOSITION
21:35 – Introduction. M; a 3rd opens into a 5th (A/F, A/E, A/D)
[TG1]
21:38 – Theme 1. At 22:23, reference to Mvt 1 TG1 T1
22:53 – M1 in RH, a new motif (M4) in LH. At 32:02, M1, following by reference to Mvt 1 TG2 T1 in repeated notes
[TG2]
23:07 – Theme 2 = Dies Irae + M3 (in overall structure, and at 23:15 in LH). Note use in canon
23:43 – Theme 3. Note M1 at 23:47 and similar
24:12 – Theme 4, based on M4
24:47 – Theme 5
25:29 – Transition Theme 1 M.chr + (at 25:38) M1 + M3 + M4. At 25:42, just M4/Theme 4
25:49 – Transition Theme 2. At 25:57, M2* appears, recalling Mvt 1+2
26:20 – Mvt 1, TG1 T1
26:45 – Theme 6, based on M2! (F-Gb-Bb, etc). At 27:20 T2 briefly interrupts, but this time its connection to Mvt 1 is made clear, with references to the opening of Mvt 1’s development in the RH (diminished chord). At 27:26 T6 returns, and the interruption and return is repeated.
DEVELOPMENT
28:00 – T2 returns, with M3 in RH. Dazzling feats of thematic integration. At 28:05 a rhythmic motif from T3 appears while T2 remains and the LH contains M.chr; at 28:12 the LH draws from T4; at 28:19 the Dies Irae starts rising in the RH while M4 infuses the LH
28:28 – Climax. Dies Irae in RH, T3 in LH. At 28:34 the Dies Irae appears in RH to herald return to T1
28:01 – RECAPITULATION. Note how M4 now appears in T1
CODA
33:55 – T1, with Dies Irae at 33:59 and similar. At 34:15 Dies Irae arrives in RH. At 34:28 it is compressed in toccata-like texture.
34:38 – Reference to transition theme of Mvt 1 + end of TG2 T1
34:48 – Climax. M1 in RH, M1.2 in LH. Run at 34:53 based on M1.2
35:04 – TG2 T1, now massive
35:22 – M1 closes the piece, interspersed with 4 repeated Dm chords which recall TG2 T1. The opening figure of the movement closes on a 5th.

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