Au Comte Ladislas Teleky

21

II. RHAPSODIEHONGROISE
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';ILiszt schrieb 1885 eine ganze Serie von Kadenzen zu dieser Rhapsodie fUr Lina Schmalhausen und eine andere Serie fUr Tony Raab. Diese Einschiibe und Xnderungen erweitern die Rhapsodie in solchem MaBe, daB es uns kiinsderisch lohnenswert erscheint, das Werk mit der einen oder anderen Serie von Kadenzen vorzutragen und diesen Umstand auch im Konzertprogramm zu vermerken. Die ftir L. Schmalhausen geschriebenen Zugaben un~ Ande~ngen ha~n wir mit die fur T. Raab geschr1~ben mit bezeichnet, Zwischen Takt 8 und 9:

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*)Liszt wrote a whole series of cadenzas to this Rhapsody in 1885 for Lina Schmalhausen and a second series for Tony Raab. These interpolations and alterations extend the Rhapsody to such an extent that it seems to us to be artistically rewarding to perform the work with one or the other series of cadenzas, and to put a note to this effect in concert programmes. The additions and alterations wrirten for L. Schmalhausen are designated those for T. Raab are designated@. Between bars 8 and 9:

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**JThere should be a difference between the various forms of the "heel-clicking" ("Hackenzusammenschlagen") motif! is different from

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**) Das aus sechs Tonen bestehende Ornament ist bier laut unseren belden Quellennur mit einem Achtelbalken versehen, gegeniiber den Sechzehntelbalken des 6. Taktes. Darin iuBcrt sich der feine U nterschicd zwischen poco rit, und rit,

, •• ) The six note ornament is according to our two sources provided only with a quaver stem as compared with the scmiquaver stem in bar 6. This covers the fine distinction between poco rit, and rit.

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·'Extension of bar 84 according to Liszt's undedicated autograph copy (Liszt-Archiv, Weimar); to be interpolated in place of the hemidemisemiquavers:

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*) Die kleingestochenen Tongruppen von [e drei Noren konnen als ZweiunddreiBigsteltriolen genau eingefiigt werden. **) Vor der "lunga pausa".

*) The groups of three notes in small print can be precisely fitted in as demisemiquaver triplets. **) Before the "lunga pausa":

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.) Die Tenutostriche iiber den halben Noten bedeuten keine besondere Betonung, sondem lenken die Aufmerksamkeit lediglich auf das Aushalten der vollen Notenwerte, wogegen dieselben Zeichen von Takt 134 an iiber den punktierten Aehtelnoten als Ersatz fUr die fehlenden - cine selbstlindige Stimme bedeutenden - Viertelnotenhilse dienen.

.) The tenuto marks above the minims do not designate a particular emphasis but rather draw attention to the full value of these notes, whereas the same signs from bar 134 onwards, now placed above the dotted quavers, have the function of representing crotchet stems; in this way they form an independent voice-part.

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.) The initial accent of these bars should be felt despite the "'arrali above the third quavers.

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*)In Uszt's autograph the ff is followed by the indication rfogato. The word means "let loose; given free rein". The staccato at the 3rd demisemiquavers in the right hand merely calls for a sharper touch, and not for any special impulse.

•) 1m Manuskript Liszts steht nach If die Bczcichnung sjotplo. Das Wort bcdcutct: ziigellos, tobcnd. Oas bei den 3. ZwciunddreiBigsteln der rcchten Hand angegebcne Staccato bezeichnet lediglich sehsrferen Anschlag, doch kcinen bcsondercn Impuls.

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