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TANEYEV
TWO CADENZAS
to W. А. Mozart's Concerto
for Two Pianos and Orchestra (К
365)
Edited Ьу А. Merkulov
With facsimile of the manuscript
MOSCOW MUZYКA
·
2007
11
'То Comblne the Perfection of Mozart's Writing
with Contemporary Harmony'
Sergey lvanovich Taneyev's cadenzas to Mozart's Tenth
Piano Concerto (the Concerto for two pianos and orchestra
in Е flat major, К 365) are among the most cherished
treasures at the department of rarities ofthe Taneyev Research
Music Library attached to the Moscow Conservatoire1•
These cadenzas, composed in 1890, remained unpublished
and virtually unknown for more than а century. And yet,
the mentioned manuscripts are truly unique specimens of
musical art. The man who wrote the cadenzas was an
outstanding musician and, what is more, а great Mozartean.
Indeed, Sergey lvanovich Taneyev was strongly attached
to Mozart from his early years up to the last days of his
life. ln 1867, as an eleven-year-old pupil of the Moscow
Conservatoire, he performed the first movement of Mozart's
Piano Sonata in А minor (К 310) to the applause of the
members of the examining board, while in 1915, shortly
before his death, he played оп the piano fragments from
Mozart's Idomeneo and Cosi fan tutte during а music
gathering with his friends.
Taneyev performed Mozart frequently and to various
audienёes, in public, at home, and at his lessons. His
repertoire included Mozart's concertos, sonatas, variations,
pieces, and chamber instrumental works. Не was the first
to perform some ofthem in Moscow. In piano duet, Taneyev
often played his idol's string quartets and symphonies among
his colleagues, expressing his fascination: 'What а marvelous
music! There is nothing more perfect than Mozart. The
highest point of beauty.'2 Mozart's string quartets, when
Taneyev played them alone on the piano, sounded in the
style ofMozart's keyЬoard sonatas. Fragments from Mozart's
works were often analyzed in Taneyev's conservatoire classes
during his lessons in various theoretical disciplines. Besides,
he supervised the conservatoire performances of Тhе Magic
Flute (1884), Don Giovanni (1887, 1888), and Le nozze di
Figaro (1888). Apart from being а consummate expert on
Mozart's oeuvre, Sergey lvanovich thoroughly knew the
music exercise books from the time of M ozart ' s
apprenticeship (he studied them during his stay in Salzburg).
Wishing to read the original text of Mozart's Don Giovanni,
Taneyev studied the ltalian. Не even had dreams about
Mozart . . .
As an accomplished Mozartean, Taneyev was unique .
His love for Mozart strongly inspired his manifold activities
as performer, composer, theorist, and teacher. Therefore,
Taneyev's previously unpublished cadenzas arouse а lively
interest.
The fact that Taneyev had composed cadenzas to
Mozart's Concerto for two pianos in Е flat major was known
1 Library code Е 11488. The detailed description of the autograph
is quoted below.
2 S. Taneyev. Diaries. Vol. 1. Moscow, 1981, р. 60.
from several sources. For instance , in his letter to
Р. 1. Tchaikovsky of March 24, 1890, Taneyev wrote that
'оп March 11, at а public concert, 1 played with Ziloti some
Mozart, to which 1 had composed two cadenzas.'3 The playЬill
of the afternoon concert of the Russian Musical Society at
Vozdvizhenka Circus informed that Mozart's concerto had
to Ье played in this country for the first time: ' This concerto
has never been performed in Russia. ' According to the same
рlауЬШ, 'the cadenzas to it are Ьу S . 1. Taneyev. ' Taneyev's
partner was А. I. Ziloti, the orchestra was conducted Ьу
V. 1. Safo nov. l n his memoirs , А. В . Gol'denveyzer
(Goldenweiser) wrote: '1 happened to attend many concert
performances Ьу Sergey lvanovich. ln his interpretation, I
heard Mozart's Concerto in С major, as well as the same
author's Concerto in Е flat major for two pianos (with Ziloti),
the cadenza for which (it is quite possible that one cadenza
was performed rather than two - А. М) Taneyev composed
himself.'4 ln her doctoral thesis, the musicologist О. S. Vino­
gradova, specializing, in particular, in Taneyev's piano music,
pointed out that 'Taneyev wrote cadenzas to Mozart's Concerto
in Е flat for two pianos, that are in а fme Mozart style. '5
The presence of manuscript cadenzas in Taneyev's music
library was mentioned Ьу Z. Savelova as early as 19256; they
are mentioned also in the recent scientific description of his
library's items7•
Taneyev's cadenzas are inserted before the endings of
the coпesponding movements in his сору ofthe Concerto's
edition published Ьу Breitkopf & H artel ( Leipzig) .
Significantly, this сору contains but the part of Piano 11.
This implies that Taneyev played just this part, while the
part of Piano 1 was probably kept Ьу its performer, Ziloti.
Тhе cadenza to the first movement is completely finished,
signed Ьу Taneyev's own hand and dated ' March 8, 1890',
i. е . three days before their joint performance with Ziloti.
The cadenza to the third movement is not quite finished,
though its major part is written down. Evidently, the
partners came to а verbal agreement about its definitive
version.
М. Tchaikovsky. Тhе Correspondence Between Р . 1 . Tchaikovsky
1. Taneyev. Moscow, 1916, р. 160.
4 А. Gol'denveyzer. From Му Recollections// S. 1. Taneyev.
Materials and Documents. Vol. 1. Correspondence and Recollections.
Moscow, 1952, р. 304.
5 О. Vinogradova. From the Нistory of Russian Piano Music of
the Late 19th and Early 20'ь Centuries. А. S. Arensky and S. 1. Taneyev.
А Doctoral Dissertation. Gorky and Moscow, 1955, р. 179.
6 z. Savelova. S. 1. Taneyev in Нis Library// S. 1. Taneyev His
Personality, His Oeuvre, and the Documents of His Life. Moscow and
Leningrad, 1925, р. 191.
7 S. 1. Taneyev's Collection. Books and Music. Catalogue. S. 1.
Taneyev Research Music:: Library, Moscow Conservatoire. Part 2. Book
2. Moscow, 1993, р. 21.
3
and S.
12
Taneyev was unaware of the existence of Mozart's own
cadenzas to this concerto, since they still remained
unpuЬlished at that time . The library of P. 1. Tchaikovsky,
Taneyev's teacher and another great Russian Mozartean8,
contained the volume of Mozart's collected works (puЬlished
in Leipzig Ьу Breitkopf and Hiirtel) with his original
cadenzas, though to other concertos. lf Taneyev had known
Mozart's own cadenzas to the Concerto in Е flat К 365, he
hardly would have composed new ones, missing а good
opportunity to show his remarkaЬle skills in this specific
musical genre.
In comparison with Mozart's original cadenzas9, those
Ьу Taneyev, composed а century after the concerto itself
(which is dated 1779), are more large-scale and energetic.
They are almost twice as long as Mozart's.
Taneyev's cadenza to the first movement consists of
47 bars against Mozart's 27 bars10 and uses а greater
number of themes and thematic elements. For instance ,
the opening episode i s based on the notes of the broken
arpeggio occupying in Mozart's concerto merely two bars(!)
and appearing quite unexpectedly ten bars before the
prescribed cadenza. То the best of ту knowledge , no
one of those who composed cadenzas for this concerto
paid attention to this sudden passage, somewhat reminding
of the subject of Bach's two-part Invention in F major.
As regards Taneyev, he uses it not only as а thematically
appropriate (and, at the same time, witty) 'Ьridge' between
sections, but also as а distinctive material for short
development.
While Mozart's cadenza moves through the keys of
А flat minor, Е flat minor, В flat major, С minor, and А
flat minor, the tonal plan of Taneyev' s piece is more
free and variegated : apart from the mentioned keys, it
includes F minor, В flat minor, and G flat major and
abounds in unstaЬle harmonies and ellipses. In Taneyev,
the zone of С minor occupies roughly nine bars against
two bars in Mozart. In general , the sphere of minor keys
in Taneyev's cadenza is consideraЬly larger than in
Mozart's.
In Mozart, the rhythm of key changes is rather slow
(for instance, the dominant В flat takes four bars and is
followed Ьу the four-bar stretch of the dominant Е flat, cf.
8 On Tchaikovsky's transcriptions of Mozart's works, cf. А.
Merkulov. Tchaikovsky's Aпangements of Mozart's Keyboard Music:
Stylistic Aspects of Re-Composition// From the Нistory of Musical
Life in Russia (18th and 19th Centuries). Collection of Papers of the
Moscow Conservatoire. Moscow, 1990.
9 The style of the cadenzas Ьу Mozart and other composers of his
time is discussed in this author's texts: А. Merkulov. The Solo Cadenza
in the 18'h and early 19th Century11 Ancient Music, 2002, Nos. 2-4;
Id. То Create One's Own Cadenzas! (W. А. Mozart's Cadenzas in the
Art of the 18'h Century and the Tasks of а Contemporary Perforrner)//
How to Perforrn Mozart. Moscow, 2004.
10
The cadenzas to the same movement Ьу С. Reinecke and
Е. Mertke number 72 bars, those Ьу 1. Moscheles - 116 bars, while
those Ьу Е. von Dohn;inyi - 113 bars. The conciseness of Taneyev's
cadenza may attest his strict taste.
bars 8-11 and 12-15), while in Taneyev the harmonic
and tonal changes are more active . Taneyev enhances the
effect of greater activity through frequent contrasts of sound
volume , while in Mozart the first seven bars are marked
forte and the rest is piano.
The texture in Taneyev's cadenza is consideraЬly richer
than in Mozart's. For the most part of Mozart's cadenza,
only one soloist is playing at а time, while in Taneyev
both pianists are chiefly playing together. As а result (and
taking into consideration the lively figurations of the
accompaniment), the sound attains an almost orchestral
density. NotaЬle is the Russian Mozartean's feeling of style:
the fщurations in his cadenza are of an obviously Mozartean
keyboard type ( curiously, in the piano part of his cadenza,
Mozart himself introduced а typically orchestraltremo1o).
Taneyev proved sensitive also to the original's harmonic
language: his cadenza is based on the characteristic major­
minor system of the Viennese Classicism.
As а result, the Russian composer's cadenza largely
resemЬles а two-piano aпangement of some dramatic
fragment from an orchestral work Ьу Haydn, Mozart, or
Beethoven (the associations with the latter's music are
especially apparent).
At the same time, some elements in Taneyev's cadenza
have their origins in the traditions of the Romantic school,
whose influence is strongly felt in many arrangements and
transcriptions of classical music created around the same
years. For instance , since the very first bars Taneyev places
some of Mozart's motifs and thematic fragments in the
bass register. NotaЬle is also the extensive development of
the second subject in the bass, where the character of the
theme underg o e s radical transfo rmatio ns. Such а
displacement of themes from the bright high register to the
cello-like ' dark' one is very typical for the cadenzas of such
famous German Mozarteans as Carl Reinecke and Ferruccio
Busoni.
There is another feature shared Ьу many romantic
arrangements, namely the introduction of extensive melodic
lines forming an expressive counterpoint to Mozart's short
motifs and fщurations. In Taneyev's cadenza, such а long
unifying phrase springs up from the first semiquavers of
every single crotchet in bars 30-31, 32-33, and 34-36
(cf. the music example). lt resemЬles the counterpoint in
the part of Piano 11 composed Ьу Grieg for Mozart's Piano
Sonata in С minor (at the end of the first movement),
though if Grieg - another remarkaЬle Mozartean - boldly
traces the contrapuntal line Ьу means of chord progression,
Taneyev prefers to ' soften' it with short descending
arpeggios11
•
11
Grieg's transcription is discussed in this author's article:
А. Merkulov. Mozart's Keyboard Works in Grieg's Aпangements (On
the Issue of the Romantic Style of Interpretation)// The Perforrner
and the Musical Work. Collection of Scientific Papers of the Moscow
Conservatoire. Moscow, 1989.
13
s: Taneyev. Cadenza to the 1 movt. (bars 32-34)
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Taneyev's cadenza to the third movement is also of
great interest. It, too, is consideraЬly longer than Mozart's:
107 written bars12 as opposed to Mozart's 49 (interestingly,
the cadenza Ьу Reinecke numbers 135 bars, while that Ьу
Dohшinyi - 131 bars).
Taneyev's attention here is directed mainly to two
thematic elements. The first one is а rather unobtrusive
two-bar motif that has cropped up in bars 357-358 and
12 For this edition, the missing fragments were added in 2006 Ьу
the Muscovite pianist and aпanger V. Gryaznov.
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then several times repeated during ten bars Ьу the end of
the finale's development section (as is well known, Mozart
was fond of such unexpected tums).
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At the very beginning of his cadenza, Taneyev quotes
this motif in а modified form: without its first note , with
intervallic and rhythmic changes. Such а use of the thematic
element in question (which was disregarded Ьу the rest of
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conditioned, perhaps, Ьу its potential for polyphonic
development and semantic transformation.
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The second thematic element in Taneyev's cadenza to the finale is the latter's main subject out of which short four­
note motifs are usually extracted:
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According to some scholars, this subject is an old folk
song from the collection Au gsbu rger Tafe/konfekt
( 'Augsburg's Dessert'). Previously, Mozart had quoted it in
his Divertimento for winds in Е flat major (К 252), which
was intended to accompany а banquet; later he used the
same tune in the 1st act Finale of the Magic Flute to
characterize Papageno13 Taneyev, however, reverses the
mood of Mozart's music.
In а remarkaЬly impressive manner, he transfers the
movement's initial motif - an embodiment of light­
heartedness - to the bass part and repeats it few times in
bars 5-7, thus imparting to it а rather menacing, ominous
tone , which reminds of the famous ' fate motif from
Beethoven's Appassionata. As an accomplished master of
monothematic development, Taneyev shows his astonishing
technique oftransforming the character ofthe music through
the ingenious use of very simple means.
Since the very first bars of his cadenza Taneyev
reinforces dramatic tension (this is clearly seen from the
music example). Later in the cadenza the interrelation of
both thematic elements chosen Ьу Taneyev - as if two
personages with different characters - takes а really
captivating course . At the beginning of the cadenza, which
can Ье compared with small opera performance, both
principal 'personage s ' fol l ow o n e anothe r, as if
complementing each other; later, in bars 42-43, 46-47
and 50-55 they appear simultaneously, creating а situation
of conflict or controversy, as it were. The moment of sharp
collision is additionally emphasized here Ьу the forte
markings, inscribed in bars 42 and 50 of the part of Piano
11 with pencil in bold hand. (Taneyev himself, who played
the second piano, introduced these markings, in all
probabllity, during the rehearsals). In the final section of
the cadenza both elements, sounding together on the
dominant pedal point, unite in а common affect and create
an atmosphere of impetuous movement, Ьoisterous laughter,
rush and bustle.
I n his cadenza, Taneyev broadens not only the
emotiona1, but also the tona1 spectrum of Mozart's Rondo.
RemarkaЬle are Taneyev's deviations from the principal
key of Е flat to the remote D and even В natural, where а
reminiscence of the Concerto's slow movement is heard (it
seems that in the beginning of the 181ь century Vivaldi was
the first to introduce this device in his cadenzas, while in
the late 19th century it was frequently used Ьу С. Reinecke14 ) .
Taneyev's cadenza i s unusually rich i n imitations, which is
quite natural for such а great champion of polyphony. At
the same time, Ьу contrast, Taneyev provides several
fragments of music in an obviously stylized ' radiant'
Mozartean manner. For instance, two seven-bar(!) fragments
contain no changes of harmony: bars 27-33 are based on
D major, while bars 55-61 - on F major. Тhе texture,
too, is stylized: it abounds in characteristically Mozartean
short and light arpeggio-like and tremolo-like figures in
semiquavers. Here the finale's main subject sounds in а
quite different manner than in the Ьeginning of the cadenza:
13 Cf.: Н. AЬert. W. А. Mozart. Vol. 1. Part 2. Translated into
Russian, edited and commented Ьу К. К. Sak:va. Moscow, 1980, рр.
49-50, 317-318, 539-540, 578.
14 Interestingly, in Reinecke's cadenza to the third movement of
this concerto there are no reminiscences of the slow movement.
•
15
p1ayfully and bright1y15 . Only somewhat 1ater it gradually
moves to deeper registers, becoming more and more
aggressive and angu1ar (s/ instead of soft ending of the
phrase) and, as was already noted, collides with its po1yphonic
comp1ement . . .
I t is worth mentioning that Taneyev p1ayed Mozart's
Piano Concerto No . 25 in С ( К 50 3) with the cadenza Ьу
J. N. HummeJ16 which in some respects resemЬles Taneyev's
own cadenzas. Hummel's piece, c1assica1 in sty1e, is 1arger
than the cadenzas Ьу Mozart ( 6 0 bars), contains many
different thematic e1ements, deviations to minor keys, and
imitations of various kinds. Let us remind a1so that Taneyev
used to р1ау Beethoven's Fourth Concerto with cadenzas
Ьу Anton RuЬinstein. No doubt, he did so out of admiration
for the great musician . But he was obvious1y attracted Ьу
the intrinsic artistic qualities of these cadenzas, where
c1assica1 rigour meets romantic freedom.
Thus, in his cadenzas Taneyev consideraЬly en1arges
the emotional scope of Mozart's music , making it more
variegated in moods and rich in contrasts. Не introduces
moments of dramatic tension and Baroque-1ike po1yphonic
comp1exity, 'beethovenizes' and ' romanticizes' the music,
using o1d and new expressive means in а distinctive
way.
All this shows obvious affinities with Taneyev's art as
concert pianist. Incidentally, one of Taneyev's con­
temporaries characterized his interpretations of the 18th
century music as ' quasi-scientific (italics added - А. М .),
though artistically accomplished, studies in Mozart's and
Bach's sty1e. ' 17 Taneyev's readings of Mozart, too, were
multidimensional. The sty1e of his p1aying changed with
the sty1e of works performed. Тhе Russian musician was
responsive to all the aspects of Mozart's enormous1y rich
spiritua1 wor1d, embracing it in who1e its diversity and
complexity. For Taneyev, it was quite natura1 to comЬine
severa1 contrasting works of his favourite composer in а
sing1e recita1. In his interpretations of Mozart's works in
dramatic mood (such as the Fantasy in С minor, К 39 6 ) ,
he approached Mozart as а time1ess (or rather all-time)
phenomenon. Taneyev, obvious1y, was aware of all the
profound historica1 connections of this music; at the same
time he bo1d1y saturated it with the mentality of his epoch
(this is attested, in particu1ar, Ьу the miracu1ous1y preserved
and still unpuЬlished recording of his performance of the
same Fantasy). On the other hand, Mozart's lighter, more
cheerfu1 works - such as the Variations in С major on the
French song Ah! Vous dirai-je, татап (К 265) - sounded
15 Alfred Einstein descriЬes the genera1 mood of Mozart's work in
following beautifu1 words: ' In all, the concerto is а rea1 embodiment of
happiness, merry-making, overwhe1ming inventiveness and joy of 1ife'
(А. Einstein. Mozart. Нis Personality and Work. Trans1ated into Russian
Ьу Е. М. Zaks. Moscow, 1977, р. 28 3). Hermann Abert's opinion is
similar: 'The concerto's main mood is energetic joviality, [ .. ] turning
to p1ayfu1 humour in the fina1 rondo' (Н. Abert. Ор. cit., р. 3 1 8 ).
16 /J. G. Ce1ebration in Honour of Mozart1/ Moskovskie vedomosti
(' Moscow Bulletin'), 1 8 9 1 , December 2, р. 4.
17 V. Yakovlev. Sergey Ivanovich Taneyev. А Biographical Essay//
S. I. Taneyev. Нis Personality, His Oeuvre, and the Documents of His
Life. Moscow and Leningrad, 1 925, р. 7.
.
under his fingers with 'gracious ease and e1egance' , as one
of the contemporary opinions runs18 .
In connection with the stylistic diversity of Taneyev's
cadenzas, it is appropriate to point out the ana1ogies with his
approach to composition. According to В. L. Yavorsky (Ja­
worski), his works reflect both 'the rhetorica1 spirit of Han­
del' and 'the vividness of Bach's imagery' , both 'Beethoven's
vigour and constructivism' and ' Tchaikovsky's emotionali­
ty. ' 19 The presence of such comp1ex stylistic ' alloys' in
Taneyev's music was mentioned Ьу many authors and was
more than once described as а tendency to neoc1assicism.
L. Z. Korabe1'nikova is, undoubted1y, right, asserting that ' it
is impossiЬle to e1ucidate the content, the idea, the sty1e,
and the musica1 idiom of Taneyev's works without recur­
ring - at 1east in some contexts or on some 1eve1s of ana1y­
sis - to the heritage of the Nether1ands schoo1, Bach, Han­
de1, Viennese c1assics, and composers ofthe Romantic era. . . '20
A1l this has to do with the Russian composer's cadenzas,
even if they represent а re1ative1y modest genre of
composition. Here, too, Taneyev disp1ays his usual ' 1ucid
consciousness and organizing will' (to use Yavorsky's
terms) - the very qualities that have conditioned his
somewhat ' classicizing' approach, his strict and prudent
se1ection of devices, his tendency to revea1 the hidden
potentia1 of Mozart's motifs and textures as fully as possiЬle .
At the same time, Taneyev's connections with the 'principa1
and most progressive trend in the creative thinking of the
19th century' and his adherence to the 'emotional spirit of
his epoch' (again using Yavorsky's words21 ) determined the
bold creative 'breakthroughs' and innovatory insights of
the composer of Oresteia. Another striking example of such
а comЬination can Ье found on the last page of Taneyev's
cadenza to the Finale. Here both Mozart's themes, whirling
in the conc1uding stretto and interwoven in а wonderfully
perfect po1yphony in the baroque-c1assical spirit (take, for
instance , the cadenza's first motif given both in straight
and in inverted forms, as well as in augmentation - а rea1
po1yphonic firework!), form such sharp , one might say
even audacious - in terms of the 19th century harmony vertica1 comЬinations that seem to Ье quite appropriate for
cadenzas written in the second ha1f of the 20tь century
(indeed, what can Ье sharper than а minor second?).
RemarkaЬly, in one of his theoretical works Taneyev
advised to composers 'to retum to the peifection of Mozart :S
writing, comblning it with all the developments of the
contemporary harmony (italics added - А. М .). '22 This
1 8 N . Kashkin (untitled review)// Russkie vedomosti (' Russian
Bulletin'), 1891, December 3, р. 3.
19 В . Yavorsky. Se1ected Works. Vol. Il. Part 1. Moscow, 1972,
рр. 268, 276.
20 L. Korabe1'nikova. The Work of S. 1. Taneyev. А Study in
History and Sty1e. Moscow, 1986, р. 3.
2 1 В . Yavorsky. Ор. cit., рр. 280- 28 1 .
22 Q uoted after: G. S. Bernandt. S. I . Taneyev. Second edition.
Moscow, 1983, р. 257. In the introduction to his major treatise, Taneyev
discussed the same proЬlem from а larger perspective: ' ln the polyphonic
music, the melodic and harmonic elements are influenced Ьу time, as
well as Ьу the composer's individuality and ethnic origin. However, the
forms, based on imitation, canon, and complex counterpoint - Ьoth
those well-known and those possiЬle, though still not in use - are etema1
and independent of any conditions. They can find their place in any
harmonic system and embrace any melodic content' (S. Taneyev.
lnvertiЬle C ounterpoint in the Strict Style. Moscow, 1959, р. 8 ).
16
stat em ent is v ery charact eristic of Tan ey ev' s thinking.
Th er efor e it is quot ed in th e titl e ofthis articl e. Tan ey ev's
app eal to n ext g en erations ofmusicians found its outstanding
r ealization, in particular, in his cad enzas.
In short, Tan ey ev - both as compos er and as
p erform er - was not int er est ed in imitating th e styl es of
th e past. Inst ead, h e striv ed to r e- examin e th em from within
and to handl e th em in а highly cr eativ e and innovativ e
mann er in his own works23
As а result, an int eresting symЬiosis ofstyl es was creat ed.
In comparison with th e cad enzas of som e of Tan ey ev's
r emarkaЬl e cont emporari es, who simply adapt ed Mozart's
th em es to th eir ess entially Romantic idiom, th e Russian
compos er's cad enzas ar e stylistically mor e compl ex and
conc entrat ed. Th e Romantic el em ents ar e expr ess ed h er e
in а rath er r estrain ed, not esp ecially 'catchy' mann er. At
th e sam e tim e, th e cad enzas Ьу Tan ey ev ar e highly
r emarkaЬl e for th eir striking balanc e b etw e en th e Mozart­
lik e stylization and th e innovativ e spirit ofth e 19'ь (and, to
an ext ent, ev en of th e 20'ь) c entury. Such а confrontation
and comblnation ofvarious styl es, such а breadth and richness
of th e stylistic rang e ar e, ind e ed, exc eptional: as is w ell
•
2' About Taneyev 's approach to the interpretation of the classical
heritage, cf. this author's article: А. Merkulov. Taneyev Plays Mozart 11
The Pelforming and Teaching Traditions of the Moscow Conservatoire.
Collection of Scientific Papers of the Moscow Conservatoire. Moscow,
1993 . Cf. also this author's text in the more recent Ьооk: New Materials
Related to Taneyev. А Conference Dedicated to S. I. Taneyev's ! 50th
known, most compos ers writ e th eir cad enzas in som e singl e
styl e. In his cad enzas (wh er e stylistically contrasting
fragm ents are arrang ed in clos e vicinity), Tan ey ev, p erhaps,
anticipat ed th e ph enom enon now commonly known as
'polystilistics'. Ev en today th es e pi ec es sound quit e mod em
without making an impr ession of 'stylistic mosaic' or 'gam e
with styl es' : diff er ent stylistic idioms ar e int erwov en h er e
in an uncommonly natural and organic mann er. Using
L. Z. Korab el'nikova' s d efinition of Tan ey ev's cr eativ e
m ethod, 'plurality ofsourc es is comЬin ed with inn er unity
and int egrity' symbolizing а 'living conn ection b etw e en
diff er ent epochs. ' 24
Thus, th e most striking featur es ofTan ey ev's mast erly
cad enzas - nam ely, th eir unusual stylistic 'multidimension­
a/ity ' and th e w ealth of inv entiv e transformations of th e
original th ematic mat erial - mak e th em uniqu e among th e
existing cad enzas to this and oth er conc ertos Ьу Mozart.
Mor eov er, th ey can Ье plac ed among th e most outstanding
historical sp ecim ens ofthis sp ecific g enr e ofmusical com­
position.
А. М. Merkulov
Doctor of philosophy, Professor
Anniversary. М. I. Glinka State Central Museum of Musical Culture.
Moscow, 2007.
2 4 L. KoraЬel'nikova. The Work of S . I . Taneyev, р. 253. ld. S . 1.
Taneyev's Instrumental Music : an Essay on Its Нistorical and Stylistic
Analysis. Moscow, 198 1 , р. 8 1 .
18
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Bars 86 - 1 1 6 and 1 3 6 - 1 40 are composed Ьу V. Gryaznov. The notes and rests set up in larger print are Taneyev 's own.
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ПРИЛОЖЕИНЕ
В. Грязнов. Вариант окончания каденции к 111 части (с т. 125)
SUPPLEMENT
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ФАКСИМИЛ Е РУКО ПИСИ
FAC S I M I LE O F ТНЕ MANUS CRIPT
50
Description of the autograph
and the principles of the present puЬiication
The manuscript of Taneyev's cadenza to the first
movement of Mozart's Concerto in Е flat major (К 365)
consists of two folios (four pages) of music paper measuring
36,6х25,8 cm. The lower edge of all the folios is cut off
and turned down because of their large size. The music
paper is from Р. Jurgenson's print shop in Moscow; this is
attested Ьу the marks in the bottom left comers of the
folios. Three pages are covered with writing in Ьlack ink;
the fourth page is unused. The pages were not numbered in
Taneyev's hand. The musical text contains the composer's
coпections. The number of staves on each page is 25.
Pages 1 and 2 contain five two-piano systems each, page 3
contains four systems. In the top right comer of the
manuscript's first page , there is an inscription made Ьу
Taneyev's hand: 'Cadenzas to Mozart's concerto for 2
p(iano)f(ortes) ' . At the top of the same page, in the centre,
Taneyev put а large Roman numeral '1'. In the bottom
corner of the third page, Taneyev wrote: 'S. Taneyev. March
8. 1890'. Taneyev's manuscript is inserted into the ending
of tht! pt movement in the Concerto's printed edition,
between pages 8 and 9. The title page of the edition used
Ьу Taneyev (and containing but the part of Piano 11) is
lost; the edition was issued in the late 19th century Ьу
Breitkopfand Hiirtel in Leipzig (puЬlisher's number 15478).
Taneyev's cadenza to the Concerto's first movement is
complete; it contains 47 bars, including the initial bar with
sustained 6/4 chord.
The manuscript of Taneyev's cadenza to the third
movement of Mozart's concerto consists of four folios ( eight
pages) of music paper measuring 32,7х26,8 cm. Though
the paper differs in size from that used for the cadenza to
the first movement, it is also from Р. Jurgenson's print
shop (this is attested Ьу printed marks) . Pages 1-6 are
covered with writing in Ьlack ink (pages 7 and 8 are Ьlank) .
The music contains the composer's coпections and marks,
made in ink and in pencil both in the text itself and in the
margins. For instance , in bars 42 and 49 of Piano 11, а
forte mark is inscribed with bold hand (in pencil) . The
number of staves on each page is 18. Pages 1-6 contain
three two-piano systems each. А stamp in the top left
corner of the first page indicates that the manuscript is Ьу
Taneyev. Above, in the centre of the same page , the
composer put а large Roman numeral '11', thus giving to
the cadenza its order number. The manuscript is sewn in
the Ьinding of the printed edition after its page 20, the last
one in the above-mentioned edition used Ьу Taneyev and
containing only the part of Piano 11. Taneyev himself
numbered the pages of his cadenza, continuing the page
numbering of the printed edition: the cadenza's pt , 3rd , 5th
pages are numbered '21', ' 23', '25', respectively. Taneyev
did not number the cadenza's even pages; the final bars are
on the 6 th page of the manuscript.
Taneyev's cadenza to the third movement is unfmished.
lt consists of several fragments of different length, 107 bars
in all. Mter bars 86 and 87, containing а reminiscence of
the Concerto's slow movement, there are gaps suggesting
that the composer intended to develop these fragments and
thus to fill the Ьlank space. Mter bar 107 (the numbering
ofbars follows Taneyev's manuscript) , the text comes to an
end. The conclusion of the cadenza is not written down,
though an ending with shake can Ье easily supposed. The
present edition uses the music written in 2006 Ьу the Moscow
pianist and aпanger V. Gryaznov in order to fill the gaps
left Ьу Taneyev. The insertions of Gryaznov's authorship
are added in small print. Another version of the cadenza's
last section proposed Ьу Gryaznov can Ье found in the
supplement. Relying on the present puЬlication, any p1ayer
can use his or her own versions of insertions and conclusion.
For instance, а player wishing to make the section with
reminiscences of the slow movement more concise than in
this puЬlication will easily find appropriate place for his or
her insertions.
*
*
*
Taneyev' s manuscript bears traces of haste and
sketchiness related to some text details and performing
instructions. Clearly, the composer was in а hurry to write
down the cadenza before the performance and had no
intention to complete and puЬlish his manuscript thereafter.
While preparing the text for puЬlication, it was necessary
to clear up the voice-leading in polyphonic fragments and
to add some evidently missing performing marks - slurs,
accents, staccato dots, etc. For this purpose, the edition of
Mozart's concerto used Ьу Taneyev was also taken into
consideration (for instance, if Mozart's theme is to Ье
performed staccato, the elements of the same theme in the
cadenza are also marked with dots - cf. bars 20 and 25).
In bar 58 of the cadenza to the third movement (Piano
1), there is an obvious slip of pen that can Ье explained Ьу
haste: Taneyev forgot to transpose the semiquavers of the
bar' s second quarter а third above , though such а
transposition is logical and related to а previous episode
(bar 30). Curiously, the necessary coпection was made in
the part of Piano 11, as is clear from the manuscript. In bar
75 of Piano 11, flats are evidently missing before Е and А
in the left-hand semiquavers - cf. similar passages in bars
71 and 73 (while writing down this passage, the composer
could suppose that the flats had already been put next to
the clef) .
In order to make the text more easily readaЬle and to
distribute the material between hands in а more clear-cut
manner, the lower voice in bars 23-24 of Piano 11 in the
cadenza to the first movement is transfeпed in this edition
51
to the lower stave. As regards bar 18 ofthe same cadenza, it
seems quite reasonaЬle to transfer the lower voice in Piano
1 right hand to Piano 11: this will provide the same rhythm
of alternate short 'cues' in the parts of both soloists as in
bar 16. This suggestion, however, is optional.
ln bar 54 of the cadenza to the third movement, we
have added а dotted line showing the connections between
notes of the polyphonically elaborated motif passing from
one hand to another. This is made Ьу analogy with identical
dotted lines used Ьу Taneyev himself in similar cases.
АН the accidentals (flats, sharps and naturals) are added
in order to prevent misunderstandings and unintentional
eпors in cases when the previous bar ( or another voice, or
else the partner's part) contains the same note with different
sign. ln some cases such 'security measures' were applied
Ьу Taneyev himself (а good example is bar 6 of the cadenza
to the first movement) .
Taneyev's slurs in the manuscripts of the cadenzas are
not always easily understandaЬle. In some cases they are
too 'generalized' and sketchy, the distance separating them
from the notes being rather uncertain; in other cases slurs
in different voices do not coincide ; sometimes similar
fragments have different slurs - cf. , for instance , the slurs
in bars 12 and 15 in the manuscript of the cadenza to the
first movement, as well as two neighbouring slurs in bar 16
of the same cadenza in Piano 1 (curiously, Paul Badura­
Skoda and Alfred Einstein Ьlamed Mozart for similar attitude
to slurring). As а result, sometimes (though not very often)
it is impossiЬle to distinguish c hance carelessness,
conditioned Ьу haste, from а considered design. It is worth
mentioning that Р. 1. Tchaikovsky quite often reproached
Taneyev for Ьeing too inconsistent and inattentive as regards
articulation marks. The same proЬlem was more than once
mentioned Ьу the editors of Taneyev' s quartets and
symphonies. The situation is additionally complicated Ьу
the Russian Mozartean's amblguous mode ofthinking. On
the one part, he often used conventional stylized 'violin'
slurs of Mozart's time even in his works for piano or with
the participation of piano. On the other part, according to
his contemporaries, he found such archaisms burdensome
and, as а man of Romanticism, prefeпed to put slurs in а
less conventional manner (this tendency was perhaps
encouraged Ьу the 'romanticized' edition of Mozart's
concerto at his disposal) . The opposition of these two
principles also could lead to discrepancies or uncertainty in
slurring.
The present editor's main task was to systematize the
slurs ofthe original and at the same time to preserve, as far
as possiЬle, the variabllity of the composer's decisions. In
some places the slurs are added Ьу analogy with similar
fragments. Single extra performing marks are either put in
brackets or set up in small print.
Since Taneyev's manuscript is reproduced here in
facsimile, а user has а rare and happy chance: to compare
the printed music with the original score and hence to
resolve any doubts related to textual accuracy. It may Ье
highly instructive to study such details of the manuscript
as, for instance, the crossed out bar 17 of the cadenza to
the 1'1 movement, containing а different textural version,
or the crossed out notes in bars 133 ( 104) and 135 (1Об) of
the cadenza to the 3n1 movement, showing an antagonism
between сопесt voice-leading and technical convenience.
Due to the presence of facsimile, there is no need to
comment in detail the peculiarities of Taneyev's text, as
well as all the minor amendments introduced into the
printed version.
1 wish to express my gratitude to S . Movchan and
V. Gryaznov for their help in preparing the musioal text
for this puЬlication.
Special thanks to V.V.Rubtsova, who helped with the
realization of this edition from the beginning to the end.
А. М. Merkulov