{"id":10372,"url":"https://api.musopen.org/v2/scores/10372/","number":0,"title":"Piano Concerto no. 2 in Cm, Op. 18 - II. Adagio sostenuto","edition":null,"piece":{"id":5763,"url":"https://api.musopen.org/v2/pieces/5763/","slug":"piano-concerto-no-2-in-c-minor-op-18","title":"Piano Concerto no. 2 in C minor, Op. 18","description":"The Piano Concerto no. 2 in Cm Op. 18 was composed by Rachmaninoff between 1900-1. The work was fully premiered in 1901 (a premiere of the second and third movements had been held the year before). This piece, dedicated to Nikolai Dahl, is one of Rachmaninoff's most enduringly popular ones. The publishing of this piece confirmed his recovery from a depression  in which he had fallen after the failure that his first symphony had been in the eyes of critics (though now it is considered a significant achievement). It is scored for 2 flutes, 2 oboes, 2 clarinets in B♭ (I mov.) and A (II & III mov.), 2 bassoons, 4 horns in F, 2 trumpets in B♭, 3 trombones (2 tenor, 1 bass), tuba, timpani, bass drum, cymbals, solo piano, and strings. The Adagio sostenuto theme appears in Eric Carmen's 1975 ballad \"All by Myself\". Carmen first composed the song's interlude, then took the bridge from Rachmaninoff and the chorus from his own \"Let's Pretend\". Carmen explained that Rachmaninoff was his \"favorite music\". The second theme of Allegro scherzando provides the basis for Frank Sinatra's 1945 \"Full Moon and Empty Arms\".","movements":"","composer":{"id":21,"url":"https://api.musopen.org/v2/composers/21/","slug":"sergei-rachmaninoff","first_name":"Sergei","last_name":"Rachmaninoff","date_of_birth":"1st April 1873","place_of_birth":"Velikij Novgorod, Russia","date_of_death":"28th March 1943","description":"Sergei Vasilievich Rachmaninoff was a Russian composer, pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors. The piano is featured prominently in Rachmaninoff's compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody.","image":"https://s.musopen.org/media/images/composers/Rachmaninov.jpg","is_featured":false,"is_bookmarked":false},"form":{"id":3,"url":"https://api.musopen.org/v2/forms/3/","slug":"concerto","name":"Concerto","description":"A concerto is a musical composition, often in more than one movement, in which one or more solo instruments play along an orchestra (or some other comparatively big instrumental force). The etimology of the word suggests that the soloist(s) and the ensemble develop the piece by presenting contrasting episodes where they play independently, in cooperation, and in different levels of subordination. The concerto, as understood today, arose in the Baroque era with the 'concerto grosso', a musical form where a small group of players contrasted against a bigger orchestra. While the concerto grosso eventually declined, the solo concerto remains one of the most popular musical forms in Western classical music. \r\n\r\nHaving successfully survived through many the periods of Western classical music history, the Concerto underwent many formal changes. It is conventional, if only as a basic definition, to say that the concerto is usually a multi movement work, of which the first movement is roughly structured around the allegro-sonata form (even if Mozart himself treated his concertos with notable freedom in terms of formal development). The second movement of a concerto, as in the sonata/symphonic tradition, is usually slow and contrasts with the first one. It can be in an abridged sonata form, a romance, a set of theme and variations, etc. The third movement will traditionally return to the home key in lively tempo, usually in the form of a dance, rondo, etc.","is_bookmarked":false},"period":{"id":57,"url":"https://api.musopen.org/v2/periods/57/","slug":"early-20th-century","name":"Early 20th Century","description":"The late 19th century saw the final expansion of post-romantic languages, with composers such as Richard Strauss and Gustav Mahler pushing the boundaries of the functional tonality. Claude Debussy and Maurice Ravel were at the same time developing what most authors call the impressionist style, which was to become one of the transitional movements into the music of the 20th century. The reaction to the exhaustion of the tonal system was a generalized break with it, which was carried in diverse ways by different composers at the beginning of the new century. Arnold Schoenberg developed atonality, and later he created the twelve tone system, though this may be considered as a continuation of the post-romantic spirit rather than a complete break with it. Other movements arose, such as futurism, expressionism, neoclassicism, experimentalism, etc. Some of the notable names of the early 20th century are: Arnold Schoenberg, Anton Webern, Alban Ber, Igor Stravinsky, Jean Sibelius, Charles Ives, Maurice Ravel, Claude Debussy, Isaac Albeniz, Filippo Marinetti, Bela Bartok, Leos Janacek.","is_bookmarked":false},"instruments":[{"id":171,"url":"https://api.musopen.org/v2/instruments/171/","slug":"piano-and-orchestra","name":"Piano and orchestra","description":"The piano developed during the 18th century, and since then it has dominated the field of keyboard instruments and become one of the most important instruments in our musical tradition. Naturally it was paired with the orchestra -the other basic vehicle for music composition in Western tradition. Compositions for piano and orchestra can take the form of a concerto, where the piano plays a soloist role against the mass of the ensemble, or any other form where the piano works as part of the orchestra itself.","image":"https://s.musopen.org/media/images/instruments/pnoo.jpg","is_bookmarked":false}],"key":{"id":22,"url":"https://api.musopen.org/v2/keys/22/","slug":"c-minor","name":"C Minor","is_bookmarked":false},"licenses":["CC-PD","CC-BY-NC-ND"],"avg_duration":40,"practice_difficulty":"hard","rcm_difficulty_level":"","rating":2.49,"hits":131994,"is_bookmarked":false},"key":null,"instruments":[],"rating":0.0,"fileurl":"https://dl.musopen.org/sheetmusic/b9569dab-4580-4919-b5cd-175dbac25a93.pdf?filename=Piano%20Concerto%20no.%202%20in%20Cm%2C%20Op.%2018%20-%20II.%20Adagio%20sostenuto.pdf","is_bookmarked":false}