Hungarian Rhapsody Nr.2 c#-minor

Three acustic Situations:

This parallel recording places three acoustic situations side by side: The closest to the performance situation in the 19th century is the recording of the sound of a 19th century Erard grand piano with the acoustics of the concert hall in the Franz Liszt Academy in Budapest, founded by Franz Liszt himself in 1875. This concert hall was built in the box shape that was prevalent for concert hall buildings in the 19th century. The second sound version combines the dry, precise studio sound of the Teldex studio with the sound of a New York Steinway D from the 1950s. The third acoustic is characterized by the richer spatial sound of the Berlin Philharmonic with a modern German Steinway D.

The different Versions:

In addition to the original version, there is also a version with the alternative individual passages intended by Liszt. Versions with additional extensions and cadenzas for Lina Schmalhausen (1885) and for Tony Raab have also been preserved. Sergei Rachmaninov also wrote his own cadenza for this Hungarian Rhapsody. The omissions made by Rachmaninov in his interpretation are also taken into account here.