{"id":2631,"url":"https://api.musopen.org/v2/scores/2631/","number":0,"title":"Suite No.2, Op.17 - Piano Part 2","edition":null,"piece":{"id":5795,"url":"https://api.musopen.org/v2/pieces/5795/","slug":"suite-no-2-op-17","title":"Suite no. 2, Op. 17","description":"Suite no. 2, Op. 17, is a composition for two pianos by Sergei Rachmaninoff. it was written in Italy in the first months of 1901, and like the famous Piano Concerto no. 2, Op. 18, it confirms the comeback of the creativity of the composer after four years of silence since the flop of his first symphony. The Suite was first performed on November 24, 1901, by the composer and his cousin Alexander Siloti.","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":16,"url":"https://api.musopen.org/v2/forms/16/","slug":"suite","name":"Suite","description":"In music, the terms 'suite' refers to a set of instrumental pieces, written for either a soloist. or a group of players (chamber orchestra, band, symphonic orchestra). The first suites date from the 14th century, and were often a simple set of ordered dances. By the Baroque period, though, the suite had become an important musical form, with a tonal relation between pieces. Terms that were often interchangeably used with 'suite' were 'ordre', 'partita', and sometimes 'overture'.\r\nDuring the Classical and early Romantic periods, the Suite fell out of use, with the symphony being a much more popular -and structurally coherent- type of multi movement work. The form was later revived in a slightly different form, no longer incorporating dances but simply many movements, or extracts from Operas and Ballets, or incidental music.","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":37,"url":"https://api.musopen.org/v2/instruments/37/","slug":"piano","name":"Piano","description":"The piano is a keyboard-based music instrument. Its versatility and pervasiveness, together with its polyphonic capabilities have made it one of the world's most employed instruments, and a crucial piece in the development of the Western musical tradition. It's name is a shortened form of 'pianoforte', terms which in Italian respectively mean 'soft' and 'loud', referring the fact that the pianoforte had the capability of producing variations in volume which previous keyboard instruments could not.\r\nStandard pianos have 52 white keys and 36 black ones, for a total of 88. They are chordophones: pressing any key activates a mechanism which makes a hammer strike a set of strings. The sound produced is amplified via the soundboard and body of the piano. \r\nBeing one of the most influential instruments in the history of music, the piano has undergone many changes and technological innovations, from the insertion of the damper and tonal pedals, to the creation of electric, electronic, and digital pianos.","image":"https://s.musopen.org/media/images/instruments/pexels-juan-pablo-serrano-arenas-1246437_1.jpg","is_bookmarked":false}],"key":{"id":1,"url":"https://api.musopen.org/v2/keys/1/","slug":"c-major","name":"C Major","is_bookmarked":false},"licenses":["CC-BY-NC-ND"],"avg_duration":50,"practice_difficulty":"hard","rcm_difficulty_level":"","rating":4.0,"hits":20819,"is_bookmarked":false},"key":null,"instruments":[],"rating":0.0,"fileurl":"https://dl.musopen.org/sheetmusic/26377059-5b8e-4732-ae61-233fe45e6320.pdf?filename=Suite%20No.2%2C%20Op.17%20-%20Piano%20Part%202.pdf","is_bookmarked":false}