Rachmaninoff Prelude in C# minor Op. 3, No. 2 ----What are the correct notes

[joann]

I am teaching the Rach. Prelude in C# minor and have compared 3 different editions.  In measure 6 and measure 49 should the left hand D on count 2 be sharp or natural?  Since the two measures are similar should they be the same in both places?  Also are any editions better than the others?  Thanks.....JoAnn

[jim_24601]

Well, that's odd indeed. I don't have a definitive answer for you, but I have a D# written in my copy of the sheet music (Boosey & Hawkes 1985 - specifically marked with a sharp accidental in both places); however I've just this moment got hold of a CD of the complete preludes on which, now I check, it's definitely played with a D natural. Interesting; I wasn't aware there was a controversy. Personally I think it sounds better with the sharp though.

[buddy]

I have an old Godowsky(art publication society) which has both as naturals.  I am learning this now.  This was my last piece as a teen and then I stopped playing for years.  I am now playing again (I can't believe I gave it up for so long).  I feel like I will never get it up to speed.  Since you are teaching it now, any specific hints for me?

[joann]

Thanks Jim and Buddy for your insight.  What tangled webs the editors weave.  I have  a recording on which they are both D#--go figure.  Buddy since you have played this in the past I am very open to any suggestions you might have too.  Most folks say that the 3rd part is the hardest and so I suppose that would be where you want to start.  Part 1 and 3 are octaves most all of the time , so I would set this up as a framework and look for the remaining notes after this .  It would seem that it would be more helpful to simply note the few places where the inner voices are different from each other (most of the time they are the same in both hands ).  The break notes are also the same in both hands.  As far as speed  you'll do it , but I'd memorize it first.  Jim I do agree with you I like the D# better, so I think that is what I'll do. Do you have any pedaling hints?

[buddy]

Thanks.  This was the last piece I received from my teacher (who by the way was blind) but I never finished it.  That's why I want to perfect now.  I have memorized the hard part and keep "banging way" trying to get it as fast as it should be.  I don't know if I am incapable or not giving it enough time and practice. 

My edition shows pedal markings-if you give me measure numbers I will give you suggestions shown.  I don't know which part you are most concerned with.

[lenny]

listen to the recording by rach himself, if you can hear the note in question, thats the right one!

[jim_24601]

The "Rachmaninoff plays Rachmaninoff" CD with this piece on is on its way - I only just ordered it

Having said that though, I've changed my mind now. The D# isn't doubtful, nor does it "sound better". It's the only reading that makes sense given the structure of the piece.

The 2 outer sections are based around the falling minor 6th motif in the bass, which Rachmaninoff helpfully outlines for you at the very start (well, he was quite young; I can't see him being that obvious in later works!) He establishes it in c#, then repeats it in E and g#, making up an ascending c# chord. The chord on the 2nd beat of each "transitional" bar, 5 and 6 in the first section, is anticipating the next iteration. In bar 5 we have a B, C# and G# and we are moving from c# to E, so if we throw in the "destination" E (which Rachmaninoff makes a point of never doing), we get the chord of C#min7. In bar 6 the harmony is moving from E to g# and the equivalent chord is Emaj7 - the D# here is the 5th of the key we are aiming at, as the B was in bar 5. Making it an ordinary E7 by putting in the D natural makes a nonsense of the progression.

As far as pedalling goes, well, you're the teacher, I'm just an interested amateur But since I've stuck my oar in I might as well stir it about a bit. Assuming you're on an upright without a sostenuto pedal, I'd say pedal on bass note changes, half pedal on treble chord changes where there's a sustained bass note you can't hold. I'd be more inclined to worry about keeping the bass line going than getting a clean sound in the treble. Think of it as bass (falling minor 6ths) plus accompaniment. If you've a sostenuto pedal you can do all the pedalling you like in the accompaniment, the tempo leaves plenty of room for it. Where the phrasing is in 2-bar sections in the agitato I take the pedal off entirely in the second bar of each block.

Of course, given that I'm not really qualified to talk about this stuff, you're quite free to ignore all the above. 

[lenny]

i think there are 2 recordings - an audio recording, and a piano roll recording.

on the latter its more clear, and actually its a really AMAZING performance! - essential for reference.

[jim_24601]

Yup. I have the piano roll recording - and in point of fact, Rachmaninoff plays a D#. (So does Ashkenazy. Katin plays a natural). 

[joann]

Jim, that was an interesting analysis of the music and seems to make sense.  I have also listened the Ashkenazy and he also plays the D as sharp.  So I plan to teach it that way.  Thank all of you for your help.

[Awakening]

Jim, that was an interesting analysis of the music and seems to make sense.  I have also listened the Ashkenazy and he also plays the D as sharp.  So I plan to teach it that way.  Thank all of you for your help.

I'd say it's definitely a d-sharp--no doubt in my mind, but I guess you can always argue little things.