Thanks to the gramophone several of Rachmaninoff’s compositions have been preserved in his own performances. However, it has been suggested in various sources that Rachmaninoff’s style of piano playing underwent a dramatic change after 1917 that effected his sound and tempi. This suggestion fits in remarkably well with the image Soviet musicology wanted to create of a Rachmaninoff, who was supposedly unable to find peace and quiet for his Art in capitalist society.
Therefore it is very important that in his scores of Rachmaninoff’s Second and Third Piano Concertos as well as his Rhapsody on a Theme of Paganini the Dutch conductor Willem Mengelberg (1871-1951) has preserved the composer’s own tempi as played well before 1917 in performances that took place within but a few years from both works’ creation. Willem Mengelberg was very precise with metronome markings. Therefore these sources can be seen as most reliable. It is also interesting to observe that the composer back in 1913 played his Third Piano Concerto with just a single cut (in the climax to the cadenza) whereas his (1939/40) recording has numerous cuts.
Mengelberg’s scores are presently kept at the Nederlands Muziek Instituut www.nederlandsmuziekinstituut.nl to whom I owe thanks for their kind assistance. The scans of the scores included here may be used for study purposes only and may under no condition be reproduced without the consent of the Nederlands Muziek Instituut and Boosey & Hawkes.
Elger Niels
Pianoconcerto no.2
In later years Mengelberg added the following inscription to the score: ‘eerste uitvoering met den componist als solist, in ‘t Concertgeb. Nov. 1902. (onder mijn leiding.)’ (First performance with the composer as a soloist, in the Concertgebouw, November 1902 (sic!) (under my baton.)) ‘N.B. Het eerste Thema, wilde hij: (Rachmaninoff) ff (zeer hartstochtelijk gevoeld) iedere noot zeer vurig!’ (N.B. The first theme, he (Rachmaninoff) wanted ff (very passionately felt) every note full very ardent!)
Moderato
Start: Mengelberg encircles the printed marking ‘Moderato minim = 60’, but nine bars into the score he writes ‘Allegro apasionato’ (sic) minim = 80-86
at 1 (cipher 1). minim = 88-92 ‘Streicher mit leichtem Bogen aber molto cantabile/Singen’ (Stings with lightly bowed, but molto cantabile/sing)
9 in 3 (9 bars into score cipher 3) Un poco più musso, minim = 104-112
4 (score cipher 4) Tempo I minim = 66
5 accell.
7 in 5 minim = 104
4 before 6 ritenuto
6 minim = 76-72
9 in 6 minim = 92-80
16 in 6 minim = 104-116 ‘poco’ crossed out, tempo marking reads now ‘Un più mosso’
7 minim = 104
9 in 7 Moto precedente, minim = 104
8 minim = 116-120
17 in 8 minim = 126!
12 before 10 minim = 108
4 before 10 minim = 92
10 Maestoso ‘Marcia’ ‘Sehr leidenschaftlich’ (very passionate) minim = 92-104
4 before 11 ‘(Meno)’ ‘Rit’
4 before 13 minim = 72 ‘movendo’
13 minim = 80 ‘Nicht zu langsam’ (not too slow)
14 minim = 112
7 in 14 (+7 bars) rit.
9 in 14 (+9 bars) minim = 76-80
15 ‘Rachmaninoff selbst vor dem Schlußakkord!’
[jpeg opus18e]
6 before 5 ritenuto
2 in 15 Un poco meno mosso, minim = 72
16 minim = 80-86
Adagio sostenuto
at start Crotchet = 72
18 clear pizzicato
9 in 19 crotchet = 104
2 before 21 crotchet = 100
9 in 21 crotchet = 104-120
23 crotchet = 126
1 before 26 crotchet = 72 ‘Rachmaninoff mit Klarinet’ (Rachmaninoff with Clarinet)
Allegro
at start minim = 126-132
11 in 29 minim = 126
30 ‘Molto più’ minim = 144
7 in 30 minim = 152
16 before 31 ‘Moderato bleibt 72’ (Moderato stays at minim = 72)
32 crotchet = 108
32 (+12 bars) minim = 126
33 minim = 132
9 in 33 minim = 156
34 minim = 144-152
7 in 36 minim = 156
16 before 37 minim = 72
12 before 38 4/4 crotchet = 108
38 crotchet = 168-158
39 minim = 108
9 in 39 minim = 112
18 in 39 minim = 120
32 in 39 minim = 126
37 in 39 Maestoso ‘molto appassionato’, minim = 76-80
61 in 39 Più vivo, minim = 112
65 in 39 ‘Risoluto wordt leggiero’ (risoluto becomes leggiero), minim = 112
Total = 35’ (timing)
Piano Concerto no.3
Mengelberg’s later inscription reads: ‘Welt-Uraufführung mit den Componist in London Philharm. Society. 21 Jan 1912-13 (damals nur ¾ stunde probiert)’ (Worldpremiere (sic!) with the composer in London Philharm. Society. (rehearsal at the time but 45 minutes))
The score also holds tempo markings for performances (and subsequent recording) by Walter Gieseking in ink. Gieseking provided these by letter, because there was a lack of rehearsal time. The letter is also kept at the archive and according to Mengelberg expert Dr. Frits Zwart, the conductor wryly noted ‘alles andere Tempi als der Komponist’ (all tempos different from the composer’s own). Horowitz’ cuts are also reported, but not his tempi.
Allegro ma non tanto
at start ‘ma non’ crossed out and substituted by ‘molto’
above the first bar Mengelberg writes ‘flott’ (fluent)
For the general tempo Mengelberg gives minim = 72-80, specified above the first bar as crotchet = 144 and above the third bar (where Mengelberg incidentally notes the change of beat, from four to two in a bar) crotchet = 158, and also minim = 80. Above the hird bar he adds ‘fest flott’ (steady, fluent). The first par starts mf, followed by a steep diminuendo in the second and at the entrance of the solo in the third bar, the accompaniment is brought down to pppp and ppp.
17 in 1 crotchet = 168 / minim = 80 (sic)
4 crotchet = 164-158
7 before 5 crotchet = 86
1 before 5 crotchet = 80
5 crotchet = 96
6 before 6 crotchet = 104
2 ½ before 6 crotchet = 96
9 in 6 crotchet = 92
7 in 9 crotchet = 104
6 before 10 crotchet = 144
3 in 10 minim = 86
11 minim = 86
9 in 11 minim = 76
12 minim = 80
2 in 12 minim = 86
6 before 14 beat changes from minims to halves
14 minim = 86
7 in 14 minim = 92
11 in 14 minim = 92
15 in 14 minim = 96
23 in 14 minim = 108
15 minim = 104 ‘Nicht eilen’ (Don’t rush)
16 minim = 100
17 minim = 100
4 before 18 (-4 bars) minim = 102
9 in 18 ‘4/4’ crotchet = 112
Cadenza Mengelberg notes a cut of 1½ bars before the ‘accelerando’ into the ‘veloce’, which he marks as crotchet = 76
19 crotchet = 108
20 crotchet = 72
4 in 20 minim = 72-80 pppp ‘sehr leise’ (very soft)
22 minim = 86 ‘Più mosso’
23 crotchet = 100 ‘halten’ (brake)
1 in 23 crotchet = 96
3 in 23 crotchet = 100
at conclusion ‘16’ (timing)
Intermezzo
at start Adagio ‘Rachmaninoff: Andante!’
24 ‘Rachmaninoff: pp, violas more prominent’
25 crotchet = 76-80
26 crotchet = 50
27 crotchet = 50
1 before 29 ‘più mosso’
4 in 32 crotchet = dotted crotchet = 76-80 ‘des Walzers gem.’ (like a waltz)
1 before 35 ‘rit’
39 crotchet = 108
Finale
at start minim = 100-104
41 minim = 92 ‘Gemessen’ (measured)
[jpeg opus30e]
9 in 41 minim = 104
42 minim = 108-104
44 minim = 120
45 minim = 112 ‘Sehr zart’ (very tender)
47 minim = 104
2 before 48 minim = 92
50 minim = 92-88
51 minim = 104
2 in 52 minim = 62
53 minim = 86-88
54 minim = 96
55 minim = 60
5 in 56 minim = 108
59 minim = 92
8 in 60 minim = 112-116
5 in 63 minim = 104-108
64 minim = 126
70 ‘halten’ (brake)
conclusion: 35’-40’ (timing)
I 16’
II 10’
III 13’
(all timings)
Rhapsody on a Theme of Paganini Opus 43
Contrary to the scores of Second and Third Piano Concertos this is a rented score, stamped on title pages (as well as preceding and following page) with the notice: ‘Leihmaterial - unveräußerliches Eigentum des Verlages B. Schott’s, Mainz’. Mengelberg used it for two performances in the weekend of 8/9th October 1938.
In comparison to Mengelberg’s annotations found in the scores of the Second and Third Piano Concertos, those in the score of the Rhapsody on a theme of Paganini Opus 43 are less detailed and definite. His markings appear primarily in blue and red pencil, a few notes are in graphite and there are no markings in ink. Carrying on its cover the title ‘Rachmaninoff // Rapsodie sur un thème de Paganini Op. 43 pour Piano et Orchestre’ in French, this is the first edition published by ‘TAIR // Carl Fischer Inc. New York’
Eyewitnesses noted that the composer was apparently unhappy with Mengelberg’s accompaniment at one of the concerts. The reason why is unknown. It is known that Rachmaninoff could get very irritated when orchestra and ensemble were not together.
As with many other conductors’ scores, part of Mengelberg’s markings simply echo the printed text and are meant to facilitate a quick overview during rehearsal or performance concentrating on entries of instruments, changes of dynamics etc. The markings below are those that either deviate from the text or signal a specific reading (not in the text).
markings prior to the first bar of the Introduction show that Mengelberg apparently counts an entire bar (note ‘1 2’) before trowing in the downbeat (circled ‘1’) signaling the upbeat to the violins.
right before start: 1 (circled, blue pencil) f
above start: 2/4
crotchet = 144 - 152 (in blue pencil and repeated above the piano solo’s entry)
crotchet = 144 (noted once in red pencil)
2 before 1 (two bars before cipher 1) and at end of system Mengelberg notes: ‘fest (steady), 126’ and ‘weiter’ p (blue pencil, repeated in graphite pencil)
before 1 in 1: p (red and blue)
1 in 1 above first bar: ‘molto marcato’ (blue)
1 & 2 in 1: various markings f (red and blue) and finally in third bar ‘alles f’ (all forte)
3 in 1 above campanelli in third bar: crotchet = 126-132
from 1 to bar 4 in 1 as well as from 5 to 8 in 1 Mengelberg marks periods by means of bow signs above the string parts
9 in 1: f (red pencil) mf (blue pencil)
13 to first note 14 in 1 above strings: hairpin diminuendo
starting mid bar 13 until end 15 in 1 (in empty solo part) (perhaps meant for harp?): hairpin diminuendo
before as wel as in 16 in 1 (in empty solo part): f (blue pencil) and printed p in first violins crossed out
16 in 1 (in empty campanelli) part: f (red pencil)
1 in 2: f (twice, once in blue, once in red)
above 1 in 2: f (in red)
4 1/2 in 2: hairpin diminuendo (above strings) followed by written instruction ‘dim’
4 1/2 - 5 in 2: hairpin diminuendo (in empty solo part)
7 in 2: pp (in blue above strings)
8 in 2: ‘tempo’ (in blue above strings)
8 in 2: ‘weiter’ (continue) in graphite, above empty solo part
at the top of the page ‘fest flott’ (steady, quick) crotchet = 132 - 144 all in blue pencil
9 in 2 strings ff in blue pencil (instead of p printed)
11 in 2 strings ‘leggiero’ in blue pencil
1 in 3 strings ff in blue pencil (instead of mf printed)
8 in 3 strings p in red pencil
8 & 9 in 3 ‘molto leggiero’ (underlined) in blue pencil
throughout Var II Mengelberg notes sharp accents ^ in Corni & trombi parts
1 & 2 in 5 marked ‘leggiero’
from 7 into 8 in 5 hairpin diminuendo (blue pencil) marked ‘leggiero’ (blue pencil)
from 7 to 10 in 6 added ^ accents (not printed) to piano solo part
9 in 7 graphite pencil markings note natural symbols to avoid misunderstandings
entry of the violins 1 in 10 marked ‘Cant’ i.e. cant(abile)
13 in 10, marked ‘flott’ (referring to earlier tempo marking at the top of page 5)
between 4 and 5 in 15, as well as between 4 and 5 in 16 Mengelberg marks clear ceasura’s after the piano’s upward flourish
8 in 17 fermata on full bar rest
after bar 8 in 17 - Mengelberg notes ‘R’ (i.e. Rachmaninoff) crotchet = 84 marked ‘Moderato’
for Var. VII Mengelberg notes (circled) ‘crotchet = 80 Moderato’ in blue at the head of the page, followed by a character marking in graphite ‘scritta sepulcro’ and in red ‘crotchet = 76 - 80’
following 4 in 20 (at the end of the page): Mengelberg notes ‘crotchet = 152’, ‘2/4’ and ‘Allegro sempre’ all in blue pencil
5 in 20 crotchet = 168 (blue pencil)
following 8 in 21: Mengelberg’s notes prepare for a ‘molto sfz’ in the orchestra and ff in the piano part (all in blue pencil)
9 in 21 - Mengelberg notes again sfz and (circled) sff ‘molto’
at 22 Mengelberg notes: (circled) sff (in blue) for violins I & II, ff (in blue) for viola’s and cello’s – the contrabassi alone follow the indications in the score, as affirmed by Mengelberg’s notes (in blue)
at start Var. IX Mengelberg notes ‘sehr kurz’ in blue pencil at the head of the page, apparently referring to the repeated triplet figure
16 in 23: < > in Oboi and Fagotti toward and from the second crotchet
13-16 & 17-20 in 23 Mengelberg groups these bars (blue pencil)
1-4 & 5-8 in 24 Mengelberg groups these bars (blue pencil)
1-4 & 5-8 in 25 Mengelberg groups these bars (red pencil)
9-12 in 25 Mengelberg groups these bars (red pencil)
1-2 & 3-4 in 26 Mengelberg groups these bars (blue pencil)
9-12 in 26 Mengelberg groups these bars (red pencil) at end of system Mengelberg notes 4/4, crotchet = 152 and (in french) ‘même’ (the same)
at start Var. X at head of page Mengelberg notes crotchet = crotchet ‘144’ followed by crotchet = 152 and once again ‘même’ (in french)
crotchet = 152 is repeated once again at start solo part
at end of page Mengelberg’s notes prepare for changes of metre to 3/4 at 28 ‘3+4’
1 in 30: referring to main tempo, Mengelberg notes ‘flott’ in
8 in 30: Mengelberg notes fermata on last quarter
9 in 30: Mengelberg notes crotchet = 76 as tempo for the Moderato
11 in 30:Mengelberg notes ‘1 2’ (i.e. two beats) before start of next bar, same goes for following bar
at 31: crotchet = 80-76
4 in 31: Mengelberg notes fermata and (at the end of the bar) ‘weiter’ (blue and graphite pencil)
bar 9 in 31: for Var XII Mengelberg notes crotchet = (crossed out 100) 80-96 and ‘Ruhig - (andante)’ as well as a few other metronome markings (all in bars 10 & 11 in [31]) saying ‘80-86’, ‘88-96’ and ‘92’
8 in 33 Mengelberg prepares for Var XIII noting crotchet = 126 and ‘Piu mosso’ next bar quarter = 132-144
at start XIII tempo marking unclear: piano part has crotchet = 132, whereas Mengelberg changes initial crotchet = 132-144 to 152 encircling words ‘Piu mosso’ (blue pencil)
for Var XIV Mengelberg had apparently noted quarter = 144, then changed to 126 (noting 132 at start) and ‘Poco halten’ (combined Italian & German). ‘126’ is repeated several times through these bars as is the word ‘fest’
at 37: Mengelberg notes ‘fest 120’
at start of Var XV (solo) Mengelberg notes crotchet = 158-166
at 40 Mengelberg notes quarter = 156 ‘leise leggiero’
41: at entry of Violoncelli printed pp crossed out, changed to mp (blue pencil) and marked ‘espress’ (red pencil)
for Var XVI Mengelberg notes crotchet = 72 (crossed out 80, changed to 69) and crosses out ‘Allegretto’ changed to ‘Andante’ (red pencil) and (circled) crotchet = 69-72 (whereas it says crotchet = 80-72 before system)
3 & 4 in 43: Violini I & II marked fp instead of pp at start of figure
1 & 2 in 43:Violini I & II marked fp instead of pp at start of figure
Var XVII crotchet = 72 (in red at head of page) and crotchet = 72-60 in blue
2 in 48 Mengelberg adds ff between pp <> in woodwind and brass (i.e pp < ff >)
5 in 48 Mengelberg adds ff between pp <> in woodwind and brass (i.e pp < ff >)
at 49 Mengelberg notes ‘sempre cresc’ above system
Var XVIII marked crotchet = 60 (in blue pencil) at head of page. At solo entry Mengelberg notes crotchet = 76, then upon entry of the strings 60 and ‘cant’ (i.e. cantabile)
at 51 Arpa marked ff
14 in 52: Mengelberg notes crotchet = 108-112 for ‘A tempo vivace’
20 in 52: i.e. Var XIX Mengelberg notes crotchet = 168
9 in 54 i.e. Var XX marked ‘160’ (red and blue pencil) and ‘158’ (blue pencil) over initial ‘152’ (red pencil)
1 before 61:Viole f (Paganini motif) instead of printed p, likewise 4 in 61 Violini I also f instead of printed p (blue and red pencil, NB ff in graphite)
2 before 62: Violini I, Mengelberg notes f (blue pencil)
bar 2 in 62: Violini I f instead of printed p
bar 4 in 62: Violini I, Mengelberg notes mf (blue pencil)
bar 5 in 62: Violini I, Mengelberg notes mf (blue pencil)
bar 6 in 62: Violini I, Mengelberg notes f (blue pencil)
1 in 63: from final quarter to sf on downbeat of 2 in 63 in Violini I, II and Viole: Mengelberg notes < and repeats this < sf trice in 3 and 4 in 63
5 in 64: Mengelberg starts ‘poco a poco cresc’ already two bars ahead of printed (two bars before 65)
at 65: Mengelberg notes ‘espres’(sivo) in Corno Inglese and Violini I
at 66: Arpa ff, at end of bar Mengelberg’s notes prepare for minim = 86-92
6 in 68: At end of system Mengelberg notes sff and ‘Cadenz’
Var. XXIII at head of page, Mengelberg notes in graphite pencil ‘delle XIX?’
bars 1 & 2, 3 & 4 in Var XXIII grouped in blue pencil
in bar 3 in Var XXIII Mengelberg notes ‘fest’ in blue pencil and ‘halten’ in red, then at bar 5 in Var XXIII Mengelberg notes crotchet = 168
1 before 69 Mengelberg again notes ‘fest’
at 70: ‘flott’
at 73: ff (blue pencil)
Var XXIV ‘4’ (i.e. beat in 4) crotchet = 144-152 (initial, crossed out note says minim = 86-92)
6 in 74: ‘flott’ (red pencil)
3 in 76 : ‘158’ (blue pencil)
2 in 79: ‘flott’ (blue pencil)
5-7 in 80 (i.e. final 3 bars):‘halten’
at conclusion: 23’ (timing)
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