Tag Archives: cadenza

Rachmaninoff Concerto No.3 “Solo” Version 1st mov. (with ossia Cadenza ) Valentina Lisitsa

If you think this is fun, I can’t wait for you to hear the 
REAL DEAL 🙂 With Orchestra ! With London Symphony 🙂
It is released today in digital. Be the first to hear it !
Amazon US http://tinyurl.com/aakjorf
Amazon UK http://tinyurl.com/bdr9us7
iTunes US https://itunes.apple.com/album/rachma…
A message in a bottle for anybody who worried it’s too fast, please check Rachmaninoff playing his own 3rd Concerto :
Admittedly he was supposed to know which tempos he wanted for this piece 🙂

The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section including the flute, clarinet and horn accompanied by delicate arpeggios in the piano. The piano then restates the first theme in its entirety and closes with a tutti, silent, rippling coda reminiscent of the second theme.


Franz Liszt – Liebestraum – Love Dream

Liebesträume No. 3

Liebesträume No. 3 is the last of the three that Liszt wrote, and the most popular, and can be considered as split into three sections, each divided by a fast cadenza requiring dexterous finger work and a very high degree of technical ability.

The same melody is used throughout the entire piece, each time varied, especially near the middle of the work, where the climax is reached.

At the end, the piece dies down into a final chorded section, and has a broken chord for an ending, usually played slowly as if they were individual notes, rather than rippled.

Liebesträume No. 3 is a standard repertoire piece, and most concert pianists will have played or studied it.