Thesis (M.A.)--University of California, Santa Cruz, 1996. / Typescript. Includes bibliographical references (leaves 98-100).

Sergei Rachmaninoff was a major composer in the twentieth century and also a great piano virtuoso. With his unique life experience and personality, Rachmaninoff¡¦s music reveals both deep nostalgia mood and Russian style. Variations on a Theme of Corelli, composed in 1931, was Rachmaninoff¡¦s final piano solo work. His writing style and compositional technique have reached maturity in this piece, which is one of the most representative works during his late period. The Corelli Variations were based on the melody from traditional Portugal dance La Folia. Rachmaninoff employed the virtuoso piano techniques and different musical elements to create diversity for each variation. To all pianists, this work definitely is a big challenge . This lecture paper contains two main sections. The first section focuses on the life background and musical style of Rachmaninoff. The second section discusses Corelli variations, including its compositional background, formal structure and variation technique.

Thesis (M.M.)--University of Wisconsin--Madison, 1969. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

The lecture recital, presented on November 27, 1978, explored the method of "gracing" employed in the performance of solo violin sonatas in the first quarter of the eighteenth century as exemplified by an unpublished manuscript of the embellished version of Corelli's Sonata in E Major, Op. V, No. 11, by the English violinist Matthew Dubourg. A general comparison was made with other contemporary examples, including in particular Geminiani's "graced" version of Corelli's Sonata in A Major, Op. V, No. 9. Dubourg's manuscript was performed after the lecture.

Diss.--Fribourg, 2003--Phil.-Fak. / Sources et bibliogr. p. 333-376.

This thesis covers the history of Archangelo Corelli, and includes the creation of and three sonatas by Corelli.

Treatise (D.M.A.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Diss.--Phil. Fak.--Zürich, 1999. / Bibliogr. p. 170-176. Index.

This document identifies elements of a stylistic change which occurred in several of the pieces Rachmaninoff wrote during the last years of his life. These elements reflect a progressive trend in his music, which certainly maintained in spite of the change, its characteristic sound. The Variations on a Theme of Corelli, Op. 42 illustrate these new developments in their lean, angular unison sonorities, stripped of chordal padding and virtuosic display, in their percussive, staccato and incisive ostinato rhythmic figures, astringent chromatic harmony and modern air of detachment. The Rhapsody on a Theme of Paganini, Op. 43 confirms this stylistic development in its remarkable similarity to the Corelli Variations. In the last twenty-six years of his life in exile from his homeland, making his way around the world as a concert pianist, Rachmaninoff wrote only six major works. Perhaps his increasing age, separation from homeland, and the musical revolutions surrounding him in the Western world produced this stylistic development.

<p>Sammartinis Blockflöjtskonsert F dur</p><p>Dominic Probert, blockflöjt</p><p>Karolina Weber Ekdahl, barockviolin</p><p>Sandra Marteleur, barockviolin</p><p>Anna Lamberti, barockviola</p><p>Stina Petersson, barockcello</p><p>Anna Paradiso Laurin, cembalo</p><p></p><p></p>