Piano Transcriptions
Piano transcriptions are a common means of obtaining a musical effect from an orchestral composition. They can be based on the rhythm, harmony, or accents of the original work. Generally, the music is transcribed as faithfully as possible, though the composer may change certain aspects of the original. Some pianists play the transcriptions themselves, while others have arranged them for a large ensemble, such as a choir, or an orchestra.
Many of the best-known pieces from the orchestral repertoire are also available for the piano. The music of Wagner, Mahler, and other great composers has been arranged for the piano. These transcriptions often feature rich orchestral colors and an overall impression of the orchestral version. While some arrangements are merely contextual, many have been made for practical or stylistic reasons.
As a pianist, Franz Liszt understood the potential of the piano. He transcribed countless works by other composers. Although he did not compose his own music, he admired Paganini, Beethoven, and other symphony composers. In the 1830s, he began working on a transcription of Beethoven’s symphonies. It took him nearly two decades before he finished the entire set. His goal was to keep as close to the original as possible. This included notating which instruments played which parts and pedal indications.
Piano Transcriptions of Orchestral Music
One of the most popular piano transcriptions is Franz Liszt’s arrangement of Beethoven’s Fifth symphony. When Liszt wrote the piece in 1838, it was widely considered to be “incoherent.” However, after many revisions, he finished the symphony in 1843. After that, he published the complete nine symphonies in 1865.
Liszt’s transcription of the concerto is not for the least discerning pianist. Katsaris is not the most subtle player, but his playing is clear and marked. His aim is to differentiate the two parts and fill in the octaves and tremolos in the orchestral part. At times, the piano is augmented with additional notes, such as the tuba’s open strings.
Liszt’s orchestral versions are accompanied by pedal indications, such as a ff muting for the horns, which gives the piano a timbral variety. His ff and p versions also include the same wind timbre, which can be heard on the R part. For the m and s doublings, he also changes the slurs.
There are several reasons for why a particular transcription was crafted. An author may have wanted to re-create an exact replica of the original work, or he may have adapted the piece for a particular setting, such as an opera or ballet. A composer may have also been interested in experimenting with a specific instrument, such as the harp or viola. Other arrangements are meant to add new, fresh sounds to a work.
A composer may have wanted to add a particular texture to his or her work, such as a birdsong or a choral melody. Another possibility is a re-orchestration of the piece, such as a chamber music arrangement or a piano duet. Finally, a composer may have wanted to explore a particular genre of music, such as a klangfarbenmelodie, which is an attempt to create a musical style with a distinct timbre and feel.