Piano Transcription

Четырехручные фортепианные переложения сочинений, в оригинале написанных для других исполнительских составов, представляют собой обширный пласт музыкальной литературы. Преобладание среди авторов переложений не самых значительных музыкантов и сугубо утилитарная направленность их работ стали причиной недооценки исторической наукой этой области музыкального наследия и творческой практики. Однако в XIX веке данный вид изложения был обязательным для сочинений самых разных жанров. Большое значение придавал ему П. И. Чайковский, которому принадлежат десятки переложений как собственных, так и чужих произведений. Своего рода «окном в мир» подобных работ является история четырехручной версии его «Спящей красавицы», в создании которой принимали участие С. В. Рахманинов и А. И. Зилоти. Сохранившийся документальный материал позволил автору статьи полно и подробно осветить подготовку переложения, оценить исключительность самой идеи переложить балет в четыре руки, описать уклад дела и этику в этой сфере музыкального процесса в России второй половины XIX века, рассмотреть порядок подготовки изданий.

Four-hand piano versions of compositions, originally written for different performing forces, represent an extensive field of musical literature. Usually such works were realized by not the most significant musicians and with especially utilitarian aims, therefore science of the history of music underestimated them by tradition. But that kind of presentation of text was obligatory for compositions of various genres. It was of great importance for Pyotr Tchaikovsky, who made numerous four-hand piano arrangements of both his own and other composers’ works. The history of four-hand version of “The Sleeping Beauty”, prepared by Sergey Rachmaninoff and Alexander Siloti in common with the composer, seems a window on the world of piano arrangements. This paper is based on documents and covers the work of Rachmaninoff and Siloti in details. The extant documentary material allowed the author to appreciate the uniqueness of the idea of arranging the ballet for four hands, to characterize the mode of work and ethics in this sphere of musical process in Russia in the second half of the 19 th century, and to consider the way of preparation of printed musical editions.

Рахманинов и XXI век. Прошлое и настоящее: сб. статей / ред.-сост. И.А. Скворцова. М.: Научно-издательский центр "Московская консерватория", 2016. С. 178-186.
Исправленное и дополненное переиздание статьи с тем же названием, ранее опубликованной в журнале "Научный вестник Московской консерватории" (2014. № 2. С. 187-193).

The German-American composer Otto Dresel (1826-90) was best known in his lifetime as a composer of lieder and for his activity as an outstanding accompanist for singers and chamber ensembles.

This volume contains all ten of his original piano works, three pieces for organ, and a representative selection of his arrangements and transcriptions for solo piano (of works by Bach, Beethoven, Schubert, Mendelssohn, and Robert Franz).

While the influence of his teachers, Mendelssohn and Schumann, is best appreciated through his songs and chamber works, his piano transcriptions show as well the impact of his early studies with Liszt and open a new window on his role as an important piano teacher and recitalist in mid-nineteenth-century America.

This volume is part of the Recent Researches in American Music series. 

Please note that there is no e-book version available, and that the image attached is of the cover only. The volume must be purchased from the publisher.

O trabalho propõe possibilidades interpretativas para as paráfrases de concerto Miserere du Trovatore de F. Liszt ([1860]) e Miserere du Trovatore de L. M. Gottschalk (1864), baseadas na mesma obra de Verdi, porém dessemelhantes no ato interpretativo. Uma transcrição resulta da interpretação da obra original feita pelo transcritor (THOM, 2007), e uma transcrição operística apresenta implicitamente o significado da letra para o intérprete informado (CONE, 1974). Destarte, avalia-se o quanto da expressão da obra original (aspectos musicais e do texto) pode ser realizada pelo
performer no piano e como a mudança de instrumento interfere na transcrição e nas suas possibilidades expressivas.

Este trabalho trata do prefácio do álbum L’art du chant appliqué au piano (1853;1862),
de Sigismond Thalberg (1812–1871), que inclui 24 transcrições para piano de peças vocais. O prefácio contém 12 recomendações sobre a prática das peças. Esta comunicação apresenta essas recomendações que revelam interessantes possibilidades expressivas para o intérprete do repertório de meados dos oitocentos, tecendo breves reflexões. O embasamento teórico está no campo da interpretação musical historicamente orientada (LAWSON; STOWELL, 2009), que se baseia na pesquisa e reflexão sobre a prática musical do passado, de forma a subsidiar o intérprete
do presente. Neste trabalho, bibliografia atual e da época são usadas como suporte para reflexões.

The aim of this paper is to discuss the relationship between Liszt and nineteenthcentury
Russian music.
It is well known that Liszt, during his concert tours, had many opportunities to
spread his name across Russia; the composers of the rising Russian national school
were deeply impressed by the Hungarian master, as some of Mussorgsky’s assertions
can demonstrate: «How many new worlds, perhaps, might have been discovered in
talks with Liszt, how many unknown corners we might have explored together; and
Liszt, by his nature, is daring and has no lack of courage, and […] it evidently would
not be diffi cult for him to take such an excursion with us into new lands». Such considerations
are signifi cant especially because they are provided by the leading innovator
of The Five, who probably wouldn’t have shown interest in conservative occidental composers.
On the other hand, Liszt himself was one of the fi rst European artists to praise
and to try to promote – for example – Glinka, Dargomyzhsky and Borodin’s works.
These revealing and unusual musical interests were not always shared by Liszt’s traditionalist
contemporaries. On this front, there is a document which narrates Liszt’s enthusiasm
towards Mussorgsky’s The Nursery: the letter by Adelaide von Schorn to the
Russian editor Bessel. Although Émile Haraszti and Màrta Papp demonstrated that this
epistle is a historical falsifi cation, nonetheless it might be useful to consider this document
as an echo of a real problem: the mutual attraction between Liszt and Russian
musicians. What is to determine is the quality of this relationship.
This research aims to examine Liszt’s output through two different levels:
1) the analysis of paraphrases and transcriptions of Russian works and melodies
(Prélude à la Polka d’Alexandre Porfi ryevitch Borodine. Variation pour piano seul
par F. Liszt – S207a; Tscherkessenmarsch aus Glinkas Oper: Russlan und Ludmilla
– S406; Tarentelle de César Cui pour piano seul – S482; Abschied Russisches
Volkslied – S251; Tarantella di Dargomyzhsky – S483 etc.);
2) the investigation about the actual infl uence of Russian composer’s “non-classical”
production on Liszt’s