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#3169350 11/08/21 09:38 AM
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So I was listening to Marc Hamelin's Cadenza for Hungarian Rhapsody No. 2, and just grinning at how over the top it is (so much technical fun!). It made me wonder what ol' show-off Franz would think if he heard it. Part of me thinks he would be at first horrified at the atonal nature of a lot of it, but when he heard the clever references to his work, he would enjoy it soundly.

P.S. it's s shame we will never know the answer to questions like these...but fun to wonder.


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I have no idea what Liszt would think but I think Hamelin's cadenza is ingenious but too long.

Here's another very good but IMO over long cadenza:

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I like that a lot. Much more "Romantic" style than Hamelin. But I did notice a few "jazzy" chords at the beginning of the cadenza. You're right though...he more closely repeated some of the original, wheras Hamelin just tipped his hat to it.


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No idea for sure. I’ve always wondered what the composers from before the recording era would think of performers from the 20th century to today.

I assume Liszt would appreciate it, though.

Hamelin’s cadenza is a bit long, but I still love it. Rachmaninoff’s cadenza is pretty great, too.

Hamelin’s cadenza has a subtle cross-reference to Alkan’s “Hands Reunited” Etude Op. 76, No. 3. Can anybody find it? Idk why he referenced Alkan in a cadenza to a Liszt piece, but he did.

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Cadenzas fall broadly into three groups:

1) Ones that stay strictly within the style of the period - predominantly by pianists who wouldn't call themselves 'composers', like Perahia and Ashkenazy (as well as period instrument specialists like Levin and Bezuidenhout) in their cadenzas for Mozart concertos,

2) Ones that stray slightly outside the style of the music, but still recognizably 'within' the period - which includes Beethoven's own massive (and most popular) and biggest later cadenza for his early C major concerto, which contains bombastic ff chords up and down the keyboard à la Appassionata, Hummel's for Mozart, Liszt's for Beethoven 3 and so on. These are all by well-known composers.

3) Ones that pay lip service to the music's era - Busoni's cadenzas for Mozart concertos, Alkan's for K466 and Beethoven 3, Schnittke's avant-garde cadenza for Beethoven's Violin Concerto (do try to hear it), Boulez's for Bach concertos (OK, just kidding wink ). Hamelin's for Liszt falls in this category.

But hey, aren't cadenzas meant for soloists to show off their (compositional/improvisational as well as technical) skills? Anything goes, and everything is good, IMO.
Even Boulez's for Bach...... smirk


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I don't think he will be shocked cause he is able to write 1000 times better cadenza than hamelin, horowitz etc. He would think yeah it's cool but let's not spoil the original. If liszt alive today and write a cadenza for his hungarian rhapsody no 2 I'm 100% sure everybody will still blown away. Being a pianist and writing a cadenza for hobby is a different thing than being world class composer a historical figure a monument writing a cadenza for his own composition.

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Originally Posted by Orange Soda King
Hamelin’s cadenza has a subtle cross-reference to Alkan’s “Hands Reunited” Etude Op. 76, No. 3. Can anybody find it? Idk why he referenced Alkan in a cadenza to a Liszt piece, but he did.

Wow, you sure know your stuff. When you say, "Can anybody find it?" what are you asking exactly?


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Surely an egotist is only interested in their own ego?

Anything that equals, challenges or eclipses them would be considered bad.

I remember a quote from one composer that I read, words to the effect of, "Every pianist who plays my music has betrayed me!"

I mean, how pompous can you get? So there you go, we are all failures compared to Him. I suspect Franz is from the same school of thought, unless of course he could "enjoy the company" of the wife of the other pianist as he was playing! wink

Or am I being unfair?

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Originally Posted by slipperykeys
Surely an egotist is only interested in their own ego?

Anything that equals, challenges or eclipses them would be considered bad.

I remember a quote from one composer that I read, words to the effect of, "Every pianist who plays my music has betrayed me!"

I mean, how pompous can you get? So there you go, we are all failures compared to Him. I suspect Franz is from the same school of thought, unless of course he could "enjoy the company" of the wife of the other pianist as he was playing! wink

Or am I being unfair?
I think the composer may have been Debussy. He didn't mean that the pianists were failures, but that they didn't use the right touch for his music.


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