Vocalise (2 pianos, 8 hands)

Details

Also available for 1 piano, 4 hands

Vocalise, Op. 34, No. 14 by Sergei Rachmaninoff, arranged for 2 pianos, 8 hands by Greg Anderson / Includes full score and two parts (Pianos 1 & 2) / Difficulty: Intermediate-advanced / Duration: 7 mins / Copyright: 2009, 2022 / Work number: 039.2

Program Notes

Words are certainly unneeded in Rachmaninoff's Vocalise, originally a song for voice and piano containing no words, but rather sung using a single vowel of the singer’s choosing. Without any illustrative lyrics to convey the song’s meaning, the piece takes on a personal meaning as well as a universal expressivity: to quote critic Richard Wright, “As a metaphor for nostalgia, homesickness, and erotic yearning, nothing says it better.” Discover what the song means to you.

The song, with its glorious melody and lack of text, has proven to be an ideal piece for transcription: there are numerous arrangements for orchestra, chamber ensemble, choir, and solo instruments, including solo piano. In arranging this work for piano duet, Greg paid homage to Rachmaninoff’s indelible piano writing and to the song’s emotional intimacy and passion.

— Greg Anderson & Elizabeth Joy Roe

Performance Notes

Pedaling: To prevent potential pedaling complications, I've occasionally asked the primo and secondo pianists to swap the management of the pedal. Similarly, I've included pedal markings in places when the pedaling might not instinctively align with the pianists’ own part. These are merely recommendations.

Fingerings: I've included helpful fingerings, mostly to prevent collisions between the primo and secondo pianists. There are also a few minimal but necessary hand crossings between the pianists accompanied by suggested directives, “over & in” or “under & out.”

Timing: Rachmaninoff’s “Vocalise” is often performed with generous use of rubato, something which can be challenging to pull off successfully with four pianists seated at two pianos. Throughout, I limited the number of pianists playing during especially sensitive moments to help reduce issues of synchronization (such as the opening or measures 11, 34, or 61). In these instances, it is my hope that one of the pianists can luxuriate freely while the others follow.

— Greg Anderson

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