Piano World Home Page Forums Our Most Popular Forums Pianist Corner Question about tempo markings in Rachmaninoff Prelude in B minor, Op 32. No. 10

I have the Schirmer's edition. The first tempo marking is Lento. The second tempo marking is Tempo I, which indicates to play the section Lento. The third tempo marking is L'istesso tempo, which means at the same tempo as the last section. And finally, a tempo come prima, or same tempo as the beginning, i.e., Lento. Just wondering if anyone's got another edition and what the tempo markings are.

I've never heard a recording where the performer actually follows the tempo markings. The tempo markings (at least in my edition) essentially say to play every section at the same pace. I understand there's leeway, but typically a performer will play the middle section (with the big chords) 2 to 3 times as fast as the first section, even though it says Tempo I. And then they'll play the third section about half as fast as the second section, even though it says l'istesso tempo. Why would Rachmaninoff write in these tempo markings if he felt the second section should be played way faster than the first, or if he felt the third section should be played much slower that the second?

On my MySpace page you can listen to what the piece would sound like if these tempo markings are followed (with a little wiggle room, of course). Funny thing is, after playing it this way, I can't listen to any recording without feeling that the first section is sluggishly slow and/or the middle section is rushed, not to mention how they completely disregard the rhythm. And then it's no surprise when they dramatically slow down the third section because of its inherent business.

So, anyone else with a different addition and different tempo markings? Or a different opinion on how to interpret the tempo markings?

http://au.youtube.com/watch?v=IxFI2cphuN0

That is how I like it played. The tempo Richter takes in the middle section is a bit slower than others.

jscomposer :

I also have the Schirmer edition of the Preludes, Op 32.

At measure 13, the direction poco più mosso is indicated, so an indication to return to Tempo I at measure 22 is appropriate, I think.

The indication L'istesso tempo at measure 37 may be redundant, although since the texture of the writing has changed drastically from what has preceded (measures 22 through 36), it might be considered a cautionary or "courtesy" marking to assure that the same tempo is observed.

Finally, after the flourish of the cadenza with the reprise of the first subject in the same texture as at the beginning, the a tempo, come prima does not seem inappropriate, although it does appear somewhat obvious.

My interpretation of these indications is not so much that Rachmaninoff wants to suggest to performers to observe the original tempo throughout, but rather that they refrain from changing the tempo as both the texture and the style of the writing change for measures 22 through 37.

I am not taking into account here what performers do with this piece, but simply what I see indicated in the score.

Regards,