@Mepeny JIUCT Benrepckas partconusa Neo 2 qa boptenmaHo Franz LISZT Hungarian Rhapsody No. 2 for piano KaweHuna PAXMAHHHAOBA. a cadenza by RAHMANINOVMepenr, JIUCT Benrepcxas pancoqua Ne 2 quit cbopremmano Franz LISZT Hungarian Rhapsody No. 2 for piano c KayeHument C.B.PAXMAHUHOBA with a cadenza by S-.RAHMANINOV Pacum¢posxa cbororpammet BpinomHeHa B.Tponmom Transcribed by V.TroppTipequcaosue Tipu xusHn C.B.Paxmaniuosa ero KazeHmust Ko 2-4 Bexrepckoi pancogu ®.JIucra Huxorja He sRaBAsIAcb, H HE OCTANOCk HHKAKHX cBeReHH O TOM, CyMecTBOBANIA JH ABTOPCKA HOTHAS sanuch store coumHenns. Ty6nmxyemMaa HoTHaa pac- umdposka chesaia ¢ IMACTHHOK, BEINYIeHHBIX B CHIA 1919 rony. Cama samice Ha miacTaKn He 6su1a yqauHoit B boHorpadbuseckoM oTHOMIe- Hut (13-38 Torgamero HecoBepmeHcrsa TexiH- KH), NOsTOMY HeBosMOxHO c a6comoTHO! TON HOCTbIO BOCMPOMSBECTH HOTHBIi TeKCT 9TOrO He- o6siunoro npousnenenns Paxmannnona. ®.JIucr » HoTax parc cenHanbHo ocTa- BI MECTO JyIa KANeHINMH, KOTOpas JODKHA OoLia GsiTb CBIMNPOBHSHpoBaHa WIM cOuMHeHA caMHM ncnommuTenem nponsseqenus. Taxas TpanHuns HCnOsHeHHS panconuH H cymectBoBama. Ham 13- Bectubt (8 sByKosanuc) mHTepnperauyn 2-H pancogum ¢ co6cTseHHMIMH KajleHUMsiMM TAKHX nenomurened, xax B.Toposuu, A.Kopro, H.Ta- aepesckuil, M.Posenranb, B.MovceHBHy H Zp. Kax ussectHo, 0 orbesaa #3 Poccun Pax- MAHMHOB, 3a PeqKHM HCKHOWeHMeM, HIpant 3 KOHILepTax TOKO céou cbopTenHanHbie cownHe- nus. Ac 1918 ropa, To ecTs co BpemenH Hagana ero Kapbepbi KOHUepTHpyioulero mHaHHCTa, OH Menlosniser cametit pasuooGpasstit peneptyap. B kos6pe 1918 roza Paxmanwop mpueaxact B Amepuxy. OueBHmHo, K STOMY BpeMeHH H creny- €T OTHECTH COSRaHHe KOMHOSHTOpOM KanenUHH ko 2-H pancoguu JIucra. Havae caow Konuept- rae pbictynaewna 8 eKa6ps 1918 rona, on yKe 10 supaps 1919 roga B Bocroxe snepsiie ny6- AwaHO Hrpaet Sty pantcosisio c cobcTBEHHOM Ka- senunel. A 22 anpens 1919 ropa, cpemu psa ADYTHX couMHeHHi, OH samMcEIBAeT 9TO NpoxtaBe- fee Ha TACTHHKK Ha CTYAK 3HaMeHHTOTO uso6peratesia (boxorpada T.Squcona. Paxmanu- HOB TPA CBITpAN AVIS 3ATTHCH ITY Mbecy, H BCE ‘TPM BapuanTa OBUIK 3aTeM BHINYMeH B CBET Ha oGsimmbix maactaHKax. Jum B 1973 roxy — K 100-eTHI0 co aa poxnenns Paxmannnona — Foreword In Sergej Rahmaninov's lifetime” his cadenza to the 2nd Hungarian Rhapsody by Franz Lisat had never appeared in print, and what is more, we have no data as to whether Rahmaninov had ever noted it down.— The transcription of Rahmani- nov’s cadenza included in the present edition of the most popular rhapsody of Liszt’s rests on the extant phonograph records, produced in the USA in 1919; even the best sound recording systems of that time being far from perfect, the absolute accu racy in notating the music recorded on those discs is virtually unattainable. When Liszt was writing out his 2nd Rhap- sody, he left a blank space for a cadenza to be added: the performer was supposed to impro- vise — or compose — a cadenza of his own.— Recordings by V.Horowitz, A.Cortot, I.Paderew- ski, M.Rosenthal, B.Moiseivich, and others, serve as evidence of the fact that the practice of pianists adding a cadenza when playing this rhapsody was not something out of the ordinary. It is generally known that before leaving Russia Rahmaninov hardly ever played, in the concert hall, anything but his own compositions; from 1918, when he started touring, he invariably performed most diverse pieces of piano music. In November 1918 Rahmaninov arrived in Ameri- ca, and — in all probability — it was in those days that his cadenza to the 2nd Rhapsody came into existence. His first concert on American soil took place on December 8, 1918. On January 10, 1919, in Boston, he played — for the first time in public — the 2nd Hungarian Rhapsody with a ‘The spelling of the composer's name used in this publica- tion conforms to the system of International Translitera- tion of Russian names, and is expected to supplant both the traditional spellings (Rachmaninoff, Rachmaninov) and the spelling brought intousein the 1980s (Rakhmani- nov).— Trans,OAMH 13 BapwanTos Gtin Bnepssie onyGanKoBaH Wa _nonrourpatomedi muactHHKe —KoMmanueii »R.C.A.“, B Pocenu 91a sannep usqaia bupmoit »Menonns" (33/[-033756). Crayana Paxmans- HOB Mrpast pariconuio B CBOHX KOHUepTax C1919 no 1924 roa. Sarem Hacryriaer mepepors, HUI B cesoHe 1941/42 rona, To ect no‘TH B CaMOM KOHLIe ero KOHIePTHO! AesTENBHOCTH, OHA BHORE SByMHT B ero HCHOHEHIH. Ochonoit ars nanntol pactmdposkn Kanen- NHK TOCAY KHUN BCE TPH BapHaRTa paxMaHHHOB- ckoro wentoaenns (1919). KoneaHo, npenmara- eMOe BocHPOKSBEMEHMe HOTHOTO TeKCTa HYXHO CaHTaTS MpHOAHSMTENBHBIM B CHTY yrKe OTMENEH- Horo Heconepuiencraa sayuanns miacraHKH. Xo- TH BECh TEKCT. KAREHUMM, HECOMHEHHO, HMEM JUS PaxmaunHoBa BozHe ompesereHHbie ovepra- HHS, B PASHBIX BAPHAHTAX MCTOMHEHHS SaMeTHL HeKOTOpEIE pasnHYHs. BOSMOKHO, YTO caMoii HMMPORHSANMOHHOCTHIO KajleHUN KAK ,YCTHO- ro“ xkaHpa O6ycnoBAeHO To OScTORTENBCTBO, YTO PaxMaHHHos TaK He ONYGAHKOBAN 3TO COuMHE- Hue (a BOSMOKHO, TAK H HE Ciles1aT HOTHYIO ga nce). Xoteaoch 611 octaroBuTecs Ha Borpoce 0 SHAUHMOCTH 39TOTO PaXMaHHHOBCKOrO MpoHsHe- newns. Kagennus Paxmanutiona, pote or cRo- Wx aanoroB,— He Mpocto banrasisi Ha TeMy si CTOBCKOM pancoqHH, Me McnoAKHTenb Mor Ger NposBHT® Bech CBOi BAPTYOSHENl MHaHHCTHUEC- Knit Gneck. Sect mot uMeeM te10 ¢ opHrMHaay- Helium mpouaneneHHeM, B KOTOPOM CHO TIpO- SBAKETCR KOMMOSHTOPCKHI M HcrlOmMHTeABCKHi CTHAb BEAMKOTO PyCCKOFO NMAHHCTA H KOMMOSH- Topa. Ito cBoero pora ,9TIOA-KapTHHa CO RCC Mut ocoGenHoctaMH s3biKa, CBolicTueHHtiMis Pax- ManmHosy. EsuiictenHoe oramune ot Apyrux PAXMAHMHOBCKHX MbCC STOTO %KAHpA — ,,4y2KHE Tem. OgHakO TeMbI, B3ATBIE H3 PaNCOAMH, sBy- “aT B PaXMAHHHOBCKOH KaQeHuMH Kak ,,CBOH" Bnech Paxmanmuon eure pas npoaBit ces Kak Gnecraumit mactep o6paGorox. Yausutensuia CT, CTPYKTYpHad UeTKOCTh KayeH= UNH, MAKCHMAMBHO HACHILEHHO! ApAMATHECKHM aciicrsnem. Kagenuns craosites, Taxim o6pa- 30M, CAMOCTOSTeMbHOM Nbecoi, oTpaxatomeli {BSTSA Ha MU xyAOKHHKA XX Reka, oOnaaR- lero ocoGolt aopKoctmio auenna. He moro 3neCb HE HATH BLIPAKeHMA HK SMOLMOHATHO- NcHXoAOrHYecKOe —COCTOAHMe — KOMMOaHTOpa, TOABKO NTO MOKHHYBUIETO CBOIO MOGUMYIO CTPA hy 4 okagapueroes Ges PoAHHBL, 8 UY:KIOM eMy Mupe, Orayummoulem WyMoM cRoeH HeOSHUHO! cadenza of his own. On April 22, 1919, he re- corded, among other things, the same rhap- sody — again with a cadenza — in Th.Edison's studio; during that session he played it three times in succession — all three recordings were sub- sequently released in the shape of 78 r.p.m. discs. It was not until 1973 (the 100th anniversary of Rahmaninov's birth) that one of those versions appeared on an LP (RCA; in Russia, Melodiya Records: 33-033756). From 1919 through 1924 Rahmaninov often played the rhapsody in con- certs. In the season of 1941/42, i.e., shortly be- fore his career as a concert pianist came to an end, he reincluded it in his repertory. Rahmaninov's cadenza as transcribed in the present publilication is the result of a multi-stage work: each of the three records has been minutely scrutinized. Naturally, this transcription is a mere approximation to what the pianist played on that vernal day in the recording studio; suffice it to refer to the indiscernibility of some details of the polyphonic fabric on the records in question. ‘There is no doubt that Rahmaninov. had an abso- lutely clear idea as regards the general outlines of cadenza, and yet the three versions show cer- dissimilarities.— It might have been on ac- tai count of the improvisatorial nature of the very genre of cadenza that Rahmaninov never publish- ed his Lisztian “impromptu” (and, most likel never committed it to paper). It is worth while dwelling on the question of significance of this unusual composition. ‘The Rahmaninov cadenza differs from its counterparts in that it is not just a virtuoso fanta sia on the themes of the 2nd Hungarian Rhap- sody, but a most original work in which the great Russian musician has vividly revealed his style both as a composer and as a performer — a kind of étude-tableau, reflecting every facet of his mu- sical mentality; the only thing that distinguishes it from the “real” études-tableaux (op. 33 and 39) is the circumstance that the themes it is built on are not his own (though they sound as if they own). An eloquent example of Rahmani- nov’s proficiency in handling another composer's material, this cadenza, extraordinarily “eventful”, ‘compact, and clear in structure, is of great value in itself (even out of the context of the rhapsody): it is a piece of twentieth-century music, a captivat- wereTeXHMKK M KPHdalyei peKaMbl, Me/IbKaHHeM KH- HeMaTorpacba HM MOaHBIMK Tora (oKcTpoTaMH, LIMO Npyre TAHNAMM — oTHM MpHMeTa~ ‘Mx TormammHea AMepuxu. Bce 970, ZyMaeTcs, BbI- 3Ba10 ,2BTOPCKYIO peaxuMio", MpOABHBIIyIOCE B KajeHUMH: 3]€cb MpowcxoguT Tpaxchopmanus o6pa3oB oT HPOHMYeCKOH, rpoTecKHol! naposHii- HOCTH W cKaxaromelt FpHMacH 1O TO:THHHO ‘tparyeckoro nacoca. Bee sto — & conocramsenni ¢ miquBuay- anbHolt ucnomantemckoll TpaKTORKoit sucTOR- koro TeKcTa pamlcomMM, rie MMAHHCTOM MONIepK- “nyra W GepexHo BuiaaieHa ZYXOBHaS HeHHOCTS SHCTOTA HANMOHAMBHOTO KOTOpHTa, TOAKyTaI0- mas rpauna o6pazon combKsopa, re Ha NepBBIiit T7QH BEICTYNAeT MHPHYECKOe HAWANO, THe HBYMH- ‘TeNbHO MHorOOGpasHO sByTAHHe piano, Herpann— UMONHB! HecnemmMple TeMmst (pH nosHelimem orcyrcrass oG:raHO! GpaBypbl),— BBUIMRACTCS B rayGoxyto Apamartyprvyeckyio Konuenumo. Pax- MaHHHOB KaK ObI HAMepeHHO KOH1HKTHO crast- Kupaer Bech Gecnomlannbiit TparHam caoero Bpe- MEHH ¢ POMANTHIECKHME, HAWLIHECKHMI OOP: 3aMH 6s1MSKCTO eMy XyfOXeCTBERHOTO Mupa 2- Benrepcxoii panconmm JIcta. Kagenuna Paxma- HHUHOBA — 9TO OTETAMBO CABIEIHO B ero HTpe — cTaHOBHTes, MO cyuIecTay, apaMaTHHeckoit kyAb- MuHaunem pancoguu. Tak, HaBepHoe, 1 JO3KHBI ee rpakTonars 6yaymue HcnonnMresm. HeoGxonumo TakXe OTMETHTS BuURAIOMeceA KOMMOSHTOPCKOe MaCTepCTRO aBTOpa KajenLHH, BupasHBMeecs, B YacTHocTH, B Gnectamelt KOHTpanyHKTHYeCKOH paspaoTKe sAHCTOBCKOTO MATepHalia, @ TAKE THIMGHO PAXMaHUHOBCKYIO PHTMHKY (octpeiimyro, c xapaxKTepHEIMH ,,0T~ TaKKAMH"), YAOGCTRO MHaHUCTHHeCKOTO ~H3NO- oxeHHa (IPH AOCTAaTOTHO aCHO HM MpospauHo’ dbaxtype) pasHoopasnelimyro ucnonHuTens- cky!0 AuHaMuKy. OcoGoro BHHMaHHs 3acmyKH- BACT TAPMOHHYECKHit SASBIK KAeHUMH, CHTBHO. OTAMMAIOWIMCA OT MMCTOBCKOTO, ‘Takim oSpagom, AaHHaT nyGaMKauHa sHa- XOMHT MYS3BIKAHTOS C MHTepecHeiiMM NpOHsBe- JeHHEM BeAHKOTO PYCCKOTO KOMMOSHTOpA H Tita HHCTA B RECHMA PeAKOM, HeOOEIUHOM TBOPYECKOM xanpe. Xorenock 6st B saxmouenue no6naronapHTs RCeX TeX, KTO MpHHLT yNacTHe B pacmHdpoBKe stot Kagenumu,— ocoGeHHo A.Baoxa, a TaKxe 9.BaGacsna 4 B.Epoxuua. Xorenoce 6a Tawxe C TpUsHATEABHOCTBIO OTMETHTS ONBIT pacumdpos- KM 2aHHOM KageHuMH, Npe”npHHsTEit B 1955S ro- AY AMepHKaHCKHM My3BIKOBeZOM SI.XOAKMCHOM. Baadusup Tponn ing character piece which mirrors the philosophy of an immensely sharp-sighted artis — The com- poser had just left his native country, which he dearly loved, and found himself in the midst of an alien world, with its stunning technology, with its inordinate commercialism, with its motion pic- tures, foxtrots, shimmies, etc. All that could not but call out a definite reaction in him, and this reaction could not but manifest itself in the caden- za: you will not fail to perceive the grotesque being transformed into a pathetic tragedy. - As to the thapsody itself, it is played by Rahmaninov in a lyrical manner. There are no signs of bravura. The national color is pure; the folklore element is winningly graceful. The pi- anos are varied; the tempi are unconventionally unhurried. The music of Liszt is interpreted non- typically but sympathetically.— The idyllic ro- manticism of the rhapsody collides, as it were, with the tragic spirit of the cadenza — the past comes into conflict with the present. Performed by Rahmaninoy, the folk-like rhapsody under- goes dramatization, and it's on the cadenza that the dramatic climax falls.— An example to be fol- lowed by the would-be performer of the 2nd Hungarian Rhapsody. It remains for me to add that the cadenza is skillfully built in terms of counterpoint as well as in respect of harmony (with quite different means than in Liszt), rhythm (with these typically Rahmaninovian retardations), and piano setting (with fairly transparent — and always play- able — textural patterns); no less noteworthy is the diversity of dynamics. ‘To sum up, this edition familiarizes the musi- cians all over the world with a most remarkable achievement of the distinguished Russian com- poser and pi a rare — and highly interes- ting — musical genre. 1 express my gratitude to all who took part in the fatiguing work of transcribing the venerable phonorecords, especially to A.Blok, the same as to E.Babasjan and V.Erohin. I feel also much ob- liged to I-Holeman, the American musicologist whose essay to notate the cadenza goes back to 1955. Vladimir Tropp Eng.: Valerij ErohinCADENZA C. PAXMAHHHOB Pit mosso Come prima = LT tena, _scherzando : r fit a tempo rit. 2 tempo Mattpica 8, accelerando crese. motto