Musicology Annotation << Back To reading the semantic archetype of the Second and Third Piano Concertos S. V. Rachmaninov Shuranov Vitaliy A., Ermakova Svetlana S. The article is devoted to the identification of the internal content plan, common to the two works of S.V. Rachmaninov – Second and Third Piano Concertos. The proximity of substantive concepts allows us to talk about a single semantic archetype, which is realized through a unique musical material in this and in another case, a unique intonation-thematic development. The fundamental semantic commonality of the two works is the lyrical type of expression, which does not require, according to E.V. Nazaikinsky, “vivid plot, event-specific certainty” of a dramatic type [1, 29]. In connection with this subject of musical analysis are the main parts of the first parts of the concerts in two dramatically important moments of their development. A comparison of these points made it possible to reveal a common conceptual plan, which is then implemented on the scale of a multi-part cycle. The proposed analytical principle, in which the semantic archetype of the whole work is initially revealed on a small section of the form, can be useful to the performer in his work on a plan for interpreting Rachmaninoff’s concerts. Keywords: musical content, semantic archetype, “genre principles of music”, piano concerts S.V. Rachmaninov, performing interpretation. DOI: 10.25791/musicology.06.2020.1132 Pp. 30-36.