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

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++