8/6/2019 Rhapsody Critical Commentary

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Rhapsody no 6.

6 l: EC gives chord on beat 2 with finstead ofd flat. Traces of correction in H2?(EMB, LSP and RE give d flat.)

34 l: Final 16th note is eflat/c1 taken from EC; H2 gives aflat/c1. However, see M 26(EMB, LSP and RE follow EC)

62 l: H2 gives chord 1 with d# instead ofB; wrong line of staff; see M 70.(EMB, RE give B while LSP give d#)

81 u:pi forte sempre espressivo taken from H2; EC gives agitato.(EMB and LSP follow H2. RE follows both and gives agitato in brackets)

85 u: Grace-note figure proceeding second trtaken from H2; missing in EC. Rhythmic subdivision of note-values in final beat is unclear in the sources: EC and H2 give

seven + five + three triplets. This new subdivision is most likely a failed attempt toplace the ornaments in correct meter (the new version is equally incorrect). Rather than anacceleration on the quintuplet, Liszt probably intended an even series of notes slowingdown slightly toward the end.

(EMB, LSP and RE follow 7+5+3)

95f. u: As given in H2; instead of portato marks, Liszt added a tie on f1f1 by hand in EC andextended it over the bar line following the page break. The marking in H2 may be inadvertent.(?????)

116 l: Note 3 (a) taken from EC; H2 gives f#; however, see parallel passage in M 147.(EMB, LSP and RE give (a) as third note)

120, 122, 124126 l: H2 lacks natural and flaton b in chords 2 and 4 here and in the parallelpassage in M 151155(except for chord 2 of M 125). They do not occur until M 156158. The flat is also missing in allbars in EC,where however the b in chord 2 has a natural in M 120, 125 and 126. Both sources invariablygive natural and flat on notes 1 and 3 in the bass. Owing to many changes primarily related topiano technique, Liszt rewrote the left handon an inserted sheet of paper, but made no changes to the harmonies. In his great haste (he onlywrote out the left hand but not the right) he evidently made several slips of the pen.(EMB, RE and LSP are correct)

Rhapsody 9

11 l: 8va sign in FE1 only to end of M 10 by mistake.(EMB, LSP and RE are correct)

14 l: c1 in A/FE1 erroneously notated as(EMB and RE are correct but LSP follows A/FE1)

37 l: 2nd chord in A with g instead ofbflat; but see also M 39.(EMB has b flat, RE and LSP as well.)

8/6/2019 Rhapsody Critical Commentary

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41, 43 u: taken from A/FE1; in FE2 as in M 37 and 39. However, in H there is arhythmic intensification at the measures corresponding to M 41/43 with respect to the measures

corresponding to M 37/39. Liszt apparently did not carefully check whether the rhythmical designof the section M 3758 was correctly reproduced. See also the comment toM 4458. There are thus various grounds to believe that the more complicated reading found inA/FE1 is the one that Liszt intended.(All sources follow FE2)

43 u: Arpeggio missing in FE1. 43 l: Chord on four missing in A.(EMB is correct, as well as RE and LSP)

70 u: flat at 9th note only in A.(EMB, LSP and RE follow A)

102 u: Upper voice taken from A; in FE1 three times instead of Most certainly by error.

(EMB, RE, LSP copy A)

112 u: Articulation of 2nd half of measure in FE1 erroneously see M 114.(EMB, RE and LSP follow FE)

120 u: Appogiatura not notated in A; inadvertently added in FE1? Not found at any otheranalogous passage.(EMB, RE and LSP follow FE)

121, 123 l: Last chord in A each time d1 instead ofbflat; so has FE1 in M 123; M 121 correctly withflat ; see the analogous measures.(EMB has d1 then b flat in bar 121 and 123 and is correct. In RE, bar 121 is correct but 123 is

wrong. LSP follow A)

130, 134 f., 196 f. u: The small notes taken from FE1; they are not yet notated in A. FE2 notatesthem in normal size at M 130 and 134 f.(EMB, RE and LSP notate as small notes and follow FE)

133 u: 1st chord in FE1 erroneously with bflat1 instead ofg1.(EMB is correct and uses g1. So does RE and LSP)

135: Double bar at end of measure taken from A; in FE1 not until the quintuplet at M 136.(RE and LSP follow A but EMB has extra measure where double bar line is)

405 u: 1st chord in A additionally with note eflat.(EMB, RE and LSP follow FE)

410 l: Octave G/g on third beat missing in A/FE, but only seems to have been forgotten in A, since

no rests have been notated in its place; in FE1 but see M 418 and early version.(EMB has eight notes for G/g and RE as well but in paranthesis while LSP has quarter note)

468 u: Last in the sources d3; most likely an engraving error; see also M 459.(EMB has d3 and is incorrect?? While RE and LSP has e3 flat and may be the correct reading.)

8/6/2019 Rhapsody Critical Commentary

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Rhapsody no 12

Mesto indication is only in F1 and F2. (LSP, RE and EMB follows F1)

7: Here, and in M 1214 and 1820, several editions have time changes. No such instructionsappear in the sources. Liszt clearly did not want a rigid tempo here. > on fourth note of themelody in C.(EMB places 2/4 time in small print while RE has it in brackets and LSP follows F and A)

8 l: Top note of the second chord of the left hand in C and F1 incorrectly is f# instead ofg#; butsee the chord progressionin the right hand.

(EMB has g# and so does RE and LSP. RE also has star next to this chord indicating this)

8, 10: Quintuplet figure in C and F1 incorrectly has instead of corrected in F2.(EMB follows the correct F2 version. RE follows F1 and is wrong. LSP follows F2 and is correct)

11 u: C lacks arpeggio; instead, there is a tie on the grace note c#1 of the upbeat. rinf. in Calready starts on first beat, with staccato on the final note; the shifting over of the rinf. andtheomission of the staccato in F1 may be directly related.(EMB, RE and LSP are the same)

27 u: C and F1 each time have one stem too few in the ornamental figure, so have

In F2 they have been corrected.

(EMB, RE and LSP are the same)

34 u/l: C notates the first note g#1 as g#/b and G#/B/d# as postponed to is missingfrom F1; added toaccord with C and F2.(EMB, LSP and RE are the same. )

35 u: C hasAllegretto instead ofAllegro; a mistake in F1?(EMB, RE, LSP are the same and have allegro)

35 l: The instruction I due Pedali probably indicates a permanent change from as is given in

what follows as well as in C and F1 (both sources have F2 has con due Pedali. The new

Liszt-Gesamtausgabe interprets this as una corda, which the editor considers to be incorrect.(EMB has una corda, RE con due pedale and LSP follows RE)

88: The marking at the beginning of this section in C, where the left hand strongly differs from F1,is Tempo rubato(general instruction), with riten. and con grazia in the right hand, and I due Pedali and dolcissimoarmonioso in the left hand. The new Liszt-Gesamtausgabe once again gives una corda instead ofI due Pedali, andadds a tre corde in M 104: this indicationis not in any of the sources.(Bar 88 is identical in EMB, RE and LSP but in bar 104 only EMB has tre corde)

8/6/2019 Rhapsody Critical Commentary

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109: The final chord in F1 has an ossia ofd#3/g#3/d#4, probably because g#4was not available

on some keyboardsof the time. Significantly, the ossia ismissing from F2. Staccato and areonly in F2.(EMB and RE have paranthesis beneath the low g note but absent in LSP)

123 u: Penultimate g#2 is from F2; F1 erroneously has

(EMB and RE follow F2 while LSP follows F1)

131 u: F1 lacks a new trill marking, in error.(EMB is correct but RE and LSP follows F1)

220 l: Seventh (eflat1/gflat1) is from A; F1 and F2 have c1 instead ofeflat1, but see analogousplace in M 222.(EMB follows A, so does RE. LSP probably follows A)

Rhapsody no 15