Rachmaninow 谢尔盖·拉赫玛尼诺夫 帕格尼尼主题狂想曲 op. 43 HN 1506
SERGEJ RACHMANINOW
Rapsodie sur un thème de Paganini op. 43
Norbert Gertsch (Herausgeber)
Heiko Stralendorff (Klavierauszug)
Urtextausgabe, Klavierauszug, broschiert
Zur Aufführung sind zwei Exemplare erforderlich
Orchestermaterial bei Breitkopf & Härtel
HN 1506 · ISMN 979-0-2018-1506-0
Sergei Rachmaninoff’s Rhapsody on a theme of Paganini was his last and at the same time most significant work for piano and orchestra. As a cycle of variations on Paganini’s 24th Caprice from op. 1, it stands in the tradition of the great works on this famous theme by Franz Liszt and Johannes Brahms. “It’s something for the audiences”, wrote the reviewer of the New Yorker about one of the first performances of this Rhapsody with the composer at the piano, “the succession of brilliances for the piano, dramatic references to the Dies Irae, wide-open Schmalz for divided strings, and old-fashioned bravura”. Alongside the Second and Third Piano Concertos, this brilliant work today numbers among Rachmaninoff’s most frequently performed compositions.
For this first Urtext edition of the Rhapsody, the editor was able to consult both the autograph held by the Library of Congress and the first edition, the publication of which was supervised by the composer. In addition to the solo part, the piano reduction offers a very playable arrangement of the orchestral setting. Parallel with the present edition, the score and orchestral parts have been published in cooperation with Breitkopf & Härtel.
谢尔盖·拉赫玛尼诺夫的《帕格尼尼主题狂想曲》是作曲家为钢琴和管弦乐队而作的最后也是最重要的一部作品。这套系列变奏曲改编自帕格尼尼第1号作品中的第24首随想曲，弗朗茨·李斯特和约翰内斯·勃拉姆斯都基于这个著名的主题谱写出了伟大的作品。“它是为观众而作的”，《纽约客》的评论家在评论这部狂想曲的一场初期公演（作曲家在其中亲自演奏钢琴）时如是写道，“它有一系列华彩的钢琴段落，戏剧性地引用了《震怒之日》，弦乐分奏表现出明显的忧伤，且拥有老派的高难度技巧。”这部卓越的作品和第2、第3钢琴协奏曲一道成为了拉赫玛尼诺夫如今演出频次最高的作品。
我们首次出版的这部狂想曲的原作版乐谱参考了藏于美国国会图书馆中的作曲家手稿以及经过作曲家亲自校订的首印版乐谱。除钢琴声部之外额外收录的钢琴缩谱提供了一个适宜演奏的管弦乐部分的缩略本。除本版乐谱之外，我们还和布莱特科普夫与哈特尔出版社合作出版了这部作品的总谱和演奏用管弦乐队分谱。
《纽约客》评论原文：“It’s something for the audiences... the succession of brilliances for the piano, dramatic references to the Dies Irae, wide-open Schmalz for divided strings, and old-fashioned bravura”
