Драматургічні й виражальні функції оркестру у Третьому фортепіанному концерті Сергія Рахманінова
Dramaturgical and Expressive Functions of the Orchestra in Sergei Rachmaninoff’s Third Piano Concerto

Summary/Abstract: The purpose of the article is to research Rachmaninoff’s Third Piano Concerto in the context of the dramaturgical and powerful functions of the orchestra, as well as the relationship between the soloist and the orchestra, in particular in the aspect of subordination. The methodology of the research consists in the application of the analytical method. Thanks to this the orchestration of the concerto are considered comprehensively. It made possible to determine the peculiarities of Rachmaninoff’s orchestral style and their manifestation in the piano concerto music genre. The scientific novelty of the article lies in the fact that it is practically the first time when the Third Piano Concerto has been analyzed precisely through the prism of orchestration. Such a perspective made it possible to find out the characteristic features of the orchestra’s presentation in an instrumental concerto, in particular to examine the use of conspicuously thick texture in conjunction with active solo piano, to study multi-timbre and multi-layered imposition in the process of musical material exhibiting, to explain the inclination of the composer for the productive use of particular instruments, etc. Many solutions of the composer in orchestration are non-standard: after all, the interpretation of the piano as an unconditional leader prompted the appearance of a very vivid presentation in the orchestra. Or the thematic material presented by the orchestra that lies like “in the shade” of the soloist which is assigned the accompaniment function. Conclusions. The main conclusion is the assertion that it was the non-standard, and often non-usual solutions addressing a key concern the problems of orchestration that became the distinctive feature of the Third Piano Concerto. Thanks to the analysis, one can strongly question the prevalent opinion about the “lack of brightness” of the orchestra in this opus and the absolute subordination of the orchestra layer to the solo line. All that has been mentioned above allows asserting that S. Rachmaninoff has an indisputable author’s orchestral style.

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