External influences on Rachmaninov's early piano works as exemplified in the "Morceaux de salon", Opus 10 and "Moments musicaux", Opus 16.

Abstract

This document focuses upon external influences in the development of Sergei Vasilyevich Rachmaninov's (1873-1943) musical style as seen in two early solo piano collections: Morceaux de salon, Opus 10, and the Moments musicaux, Opus 16. In this author's opinion, these two collections are important compositions in the evolution of Rachmaninov's musical style. Both Opus 10 and Opus 16 are representative of his early compositional period. This study examines the development of these two compositions and provides information regarding important, experimental processes related to Rachmaninov's own musical materials. Opus 10 was written shortly after his graduation from the Moscow Conservatory. Like many of his early works, it was written under the constraints and structural models of his conservatory training. The Opus 16 collection, however, shows evidence of extended compositional experimentation and freedom from the aforementioned constraints. This examination of influences and stylistic overview of Rachmaninov's Morceaux de salon, Opus 10 and Moments musicaux, Opus 16 includes an historical perspective of the compositions, the influential elements of Russian/Eastern Orthodox Church music, the influence of external factors on the two works, the influence of nineteenth century composers on the two works, and the evolution of Rachmaninov's own unique compositional techniques and style.