(from Mass in G Major, D.167). By Franz Schubert (1797-1828). Arranged by Russel...(+)
(from Mass in G Major,
D.167). By Franz Schubert
(1797-1828). Arranged by
Russell L. Robinson. For
SATB choir, Keyboard.
Octavo. 16 pages.
Duration 2 minutes, 44
seconds. Published by
Carl Fischer
Volume 1: Easy to Medium. By Anton Rubinstein; Bedrich Smetana; Francois Couperi...(+)
Volume 1: Easy to Medium.
By Anton Rubinstein;
Bedrich Smetana; Francois
Couperin; Franz Schubert;
Georg Philipp Telemann;
George Frideric Handel;
Ignaz Joseph Pleyel; J.J.
Mouret; Jacques
Offenbach; Jan Ladislav
Dussek; Jean Baptiste
Duvernoy; Johann
Friedrich Reichardt.
Arranged by Doris Gazda;
Larry Clark. For Violin
I, Violin II. Solo part.
32 pages. Published by
Carl Fischer.
For the Advancing Trumpeter. By Carl Maria Von Weber; Cristophe Graupner; Felix ...(+)
For the Advancing
Trumpeter. By Carl Maria
Von Weber; Cristophe
Graupner; Felix
Mendelssohn; Francois
Couperin; Franz Joseph
Haydn; Franz Schubert;
Georg Philipp Telemann;
George Frideric Handel;
Gottfried Heinrich
Stotzel; Gottlieb Muffat;
Henry Purcell; Jean
Baptiste Lully. Arranged
by Sigmund Hering. For
Trumpet, Piano.
Classical. Level:
advanced. Score and
parts. 47 pages.
Published by Carl
Fischer.
Made Easy for Piano Solo. By Alexander Borodin; Amilcare Ponchielli; Camille Sai...(+)
Made Easy for Piano Solo.
By Alexander Borodin;
Amilcare Ponchielli;
Camille Saint-Saens; Carl
Maria Von Weber; Charles
F. Gounod; Claude
Debussy; Franz Schubert;
Frederic Chopin; Igor
Fyodorovich Stravinsky;
Jacques Offenbach; Jules
Massenet; Leo Delibes;
Peter Ilyich Tchaikovsky.
Arranged by John
Brimhall. Solo piano. For
Piano Solo. Great Music
Made Easy: Masterwork
Series. Solo part. 48
pages. Published by Carl
Fischer.
Featuring Music from 2001: A Space Odyssey, A Clockwork Orange and Barry Lyndo...(+)
Featuring Music from
2001: A
Space Odyssey, A
Clockwork
Orange and Barry Lyndon.
Composed by Antonio
Vivaldi
(1678-1741), Giovanni
Paisiello (1740-1816),
Wolfgang Amadeus Mozart
(1756-1791), Ludwig van
Beethoven (1770-1827),
Gioachino Rossini (1792-
1868), Franz Schubert
(1797-
1828), Edward Elgar
(1857-
1934), and George
Frideric
Handel (1685-1759).
Edited
by Nicholas Hopkins.
Arranged by Nicholas
Hopkins. Carl Fischer
Music
#PL1064. Published by
Carl
Fischer Music
Low Voice. By Franz Schubert. Edited by Max Heinrich. Arranged by Max Heinrich. ...(+)
Low Voice. By Franz
Schubert. Edited by Max
Heinrich. Arranged by Max
Heinrich. Text: Walter
Scott. For Low Voice,
Piano. Carl Fischer
Superior Edition.
Classical. Piano/Vocal
Score. 7 pages. Published
by Carl Fischer. (S7631)
Choral SATB Choir, keyboard SKU: CF.CM8369 Composed by Franz Schubert. Ed...(+)
Choral SATB Choir,
keyboard
SKU:
CF.CM8369
Composed by
Franz Schubert. Edited by
James Mccray. Collection.
With Standard notation.
Carl Fischer Music
#CM8369. Published by
Carl Fischer Music
(CF.CM8369).
Five Songs of Franz Schubert Orchestrated by Anton Webern. By Franz Schubert; He...(+)
Five Songs of Franz
Schubert Orchestrated by
Anton Webern. By Franz
Schubert; Heinrich Heine.
Arranged by Anton Webern.
Text: Friedrich Ruckert;
Helmina Von Chezy;
Wilhelm Muller.
Orchestra. Soft Cover. 71
pages. Published by Carl
Fischer.
Arranged for Two Pianos-Four Hands. By Franz Schubert. Arranged by Lynn Freeman ...(+)
Arranged for Two
Pianos-Four Hands. By
Franz Schubert. Arranged
by Lynn Freeman Olson.
Piano (2 pianos, 4
hands). For Piano Duet.
Score and parts. 7 pages.
Published by Carl
Fischer.
By Franz Schubert. Edited by David Goldberger. Arranged by David Goldberg. Solo ...(+)
By Franz Schubert. Edited
by David Goldberger.
Arranged by David
Goldberg. Solo piano. For
Piano Solo. Classical.
Soft Cover. 47 pages.
Published by Carl
Fischer.
Chamber Music Piano SKU: CF.PL1072 Edited by Ruby Morgan. Collection. 168...(+)
Chamber Music Piano
SKU: CF.PL1072
Edited by Ruby Morgan.
Collection. 168 pages.
Carl Fischer Music
#PL1072. Published by
Carl Fischer Music
(CF.PL1072).
ISBN
9781491160244. UPC:
680160918836.
An
Anthology of Piano Music
for the Left Hand Alone
marks a rare and
significant entry to the
piano literature as one
of the only collections
of the oft-neglected
left-hand piano
repertoire. Serious
literature for the left
hand alone has a long and
storied past. Contained
within this volume, the
serious advanced pianist
will find a wealth of
artistically satisfying
repertoire for the left
hand that will not only
strengthen the technical
development of the left
hand, but also make for
impressive showpieces on
the recital stage.This
volume includes hitherto
unpublished gems like
Earl Wild's Etude No. 3
for the Left Hand Alone
(Based on
Gershwin’s The Man
I Love) and Ruth Wylie's
Soliloquy for Piano, Left
Hand, Op. 23, as well as
established classics of
the repertoire like
Godowky's Chopin
arrangements, and even
modern and contemporary
additions like
Bartok’s Etude for
the Left Hand and
Corigliano's Etude No. 1
for the Left Hand
Alone.
For Bass - Volume 1: Easy to Medium. By Anton Rubinstein; Bedrich Smetana; Franc...(+)
For Bass - Volume 1: Easy
to Medium. By Anton
Rubinstein; Bedrich
Smetana; Francois
Couperin; Franz Schubert;
Georg Philipp Telemann;
George Frideric Handel;
Ignaz Joseph Pleyel; J.J.
Mouret; Jacques
Offenbach; Jan Ladislav
Dussek; Jean Baptiste
Duvernoy; Johann
Friedrich Reichardt.
Arranged by Doris Gazda,
Larry Clark. For
Contrabass I, Contrabass
II. Solo part. 32 pages.
Published by Carl
Fischer.
Made Easy for Piano Solo. By Amilcare Ponchielli, Charles Francois Gounod, Camil...(+)
Made Easy for Piano Solo.
By Amilcare Ponchielli,
Charles Francois Gounod,
Camille Saint-Saens.
Arranged by John
Brimhall. Solo piano. For
Piano Solo. Great Music
Made Easy: Masterpieces.
Soft Cover. 256 pages.
Published by Carl
Fischer.
Choral TB chorus with Piano and optional Solos SKU: CF.CM9591 Composed by...(+)
Choral TB chorus with
Piano and optional Solos
SKU: CF.CM9591
Composed by Franz
Schubert. Arranged by
Susan Thrift. Fold.
Performance Score. 8
pages. Duration 1 minute,
37 seconds. Carl Fischer
Music #CM9591. Published
by Carl Fischer Music
(CF.CM9591).
ISBN
9781491154137. UPC:
680160912636. 6.875 x
10.5 inches. Key: Bb
major. Italian. Gedicht
Goldoni.
Original.
There is
not a lot written about
the history of La
Pastorella by
Austrias classical
composer, Franz Schubert
(17971828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (17071793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
dont get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once youve learned it,
youll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va
lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Collagnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-n
oh ah LAH-toh
kahn-TAHN-doh een
lee-behr-TAH Se
linnocente amore Gradisce
il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh il
suo pastore eel
SOO-oh
pah-STOH-reh La
bella pastorella contenta
ognor sara lah
BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La
Pastorella by
Austriaas classical
composer, Franz Schubert
(1797a1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (1707a1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
donat get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once youave learned it,
youall find it very
rewarding to sing.
PHONETIC PRONUNCIATION
LaA A pastorellaA A A A A
A A A A A A A A alA A A A
pratoA A A A A contentaA
A A A A A A A seA A neA A
va lah
pah-stoh-REHL-lah ahlA
PRAH-toh kohn-TEHN-tah
seh neh vah
CollaagnellinoA A A A A A
A A A A A aA A A A latoA
A A A A A CantandoA A A A
A A A A inA A A A libertA
kohl-ah-A+-eh-LEE
-nohA ah LAH-tohA A
kahn-TAHN-doh een
lee-behr-TAH Se
lainnocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh
ilA A A A suoA A A A A A
pastore eel
SOO-ohA
pah-STOH-reh LaA
bellaA A A A A A A A
pastorellaA A A A A A A A
A A A A A contentaA A A A
A A A A A ognorA A A sarA
lah BEHL-lahA
pah-stoh-REHL-lahA
kohn-TEHN-tahA A oh-A+-or
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La
Pastorella by
Austria's classical
composer, Franz Schubert
(1797-1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (1707-1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
don't get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once you've learned it,
you'll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va
lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Coll'agnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-n
oh ah LAH-toh
kahn-TAHN-doh een
lee-behr-TAH Se
l'innocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh il
suo pastore eel
SOO-oh
pah-STOH-reh La
bella pastorella contenta
ognor sara lah
BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La Pastorella
by Austria's classical
composer, Franz Schubert
(1797-1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo di
campagna by Carlo Goldoni
(1707-1793), this simple,
charming part song about
a little shepherd girl,
was originally written
for four-part male chorus
and piano and is believed
to have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
don't get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once you've learned it,
you'll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Coll'agnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-noh ah
LAH-toh kahn-TAHN-doh een
lee-behr-TAH Se
l'innocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re grah-DEE-sheh
il suo pastore eel SOO-oh
pah-STOH-reh La bella
pastorella contenta ognor
sara lah BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE: All R's
should be flipped, not
rolled. There is not a
lot written about the
history of La Pastorella
by Austria’s
classical composer, Franz
Schubert
(1797–1828). An
extremely prolific
writer, Schubert died
before his thirty-second
birthday. With lyrics
from the libretto Il
filosofo di campagna by
Carlo Goldoni
(1707–1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817.Be careful not to
sing with too much weight
in the voice so that you
don’t get bogged
down in the sixteenth
note runs. I would
suggest speaking the
Italian words in rhythm
many times before singing
them in rhythm. Once
you’ve learned it,
you’ll find it
very rewarding to
sing.PHONETIC
PRONUNCIATIONLa ÂÂ
pastorella  ÂÂ
    ÂÂ
   ÂÂ
 al  ÂÂ
 prato  ÂÂ
  contentaÂÂ
    ÂÂ
  se ÂÂ
ne  valah
pah-stoh-REHL-lah ahlÂÂ
PRAH-toh kohn-TEHN-tah
seh neh
vahColl’agnellinoÃ
‚ Â Â Â ÂÂ
    ÂÂ
 a  ÂÂ
 lato  ÂÂ
  ÂÂ
Cantando  ÂÂ
    ÂÂ
in  ÂÂ
 libertàkohl-ah-ÃÂ
±eh-LEE-noh ah
LAH-tohÂÂ
 kahn-TAHN-doh een
lee-behr-TAHSe
l’innocente amore
Gradisce ilse
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-shehil ÂÂ
  suo ÂÂ
  ÂÂ
 pastoreeel SOO-ohÂÂ
pah-STOH-rehLaÂÂ
bella   ÂÂ
  ÂÂ
 pastorella ÂÂ
    ÂÂ
    ÂÂ
 contenta ÂÂ
    ÂÂ
  ognor ÂÂ
 saràlah
BEHL-lahÂÂ
pah-stoh-REHL-lahÂÂ
kohn-TEHN-tahÂÂ
 oh-ñor
sah-RAHNOTE: All R's
should be flipped, not
rolled.
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
Edited by Peter Altmann / Franz Gerstacker. For TTBB choir. Choral music. (Chorw...(+)
Edited by Peter Altmann /
Franz Gerstacker. For
TTBB choir. Choral music.
(Chorwerke von Leonard v.
Call, Franz Xaver
Eisenhofer, Michael
Haydn, Adolf Muller sen.,
Hans Georg Nageli,
Benedikt Randhartinger,
Franz Schubert, Carl
Maria von Weber und Carl
Friedrich Zelter).
Sacred, secular.
Collection. Published by
Doblinger Music
Publishers
(HC) SKU: HL.49033205 Carl Maria von Weber und die Schauspielmusik sei...(+)
(HC)
SKU:
HL.49033205
Carl
Maria von Weber und die
Schauspielmusik seiner
Zeit. Composed by
Peteris Vasks. Edited by
Dagmar Beck and Frank
Ziegler. This edition:
Hardback/Hard Cover.
Book. Edition Schott. 332
pages. Schott Music #ED
9623. Published by Schott
Music (HL.49033205).
ISBN 9783795703837.
German.
Bis vor
wenigen Jahren wurde der
Schauspielmusik,
abgesehen von einzelnen
herausragenden Werken,
von der Musikwissenschaft
kaum Beachtung geschenkt;
eine historiographische
Gesamtdarstellung bzw.
editorische
Auseinandersetzung steht
noch aus. Gerade das
letzte Drittel des 18.
und das erste Drittel des
19. Jahrhunderts konnen
als eine Blutezeit der
Schauspielmusik angesehen
werden. In diesen
Jahrzehnten entstand
nicht nur eine
unuberschaubare Menge
solcher Kompositionen;
die Problematik der
musikalischen Untermalung
bzw. Bereicherung des
Sprechtheaters wurde auch
im asthetischen Diskurs,
anknupfend an Gottsched,
Scheibe und Lessing,
immer wieder
thematisiert. Am Beispiel
ausgewahlter Buhnenwerke,
beginnend mit
Kompositionen von Johann
Andre, G. J. Vogler und
J. F. Reichardt bis hin
zu Mendelssohn, Lortzing
und Wagner, wird
deutlich, wie
verschiedenartig die
Anspruche von Autoren und
Theaterleitern in Bezug
auf die Schauspielmusik
sein konnten, und wie die
unterschiedlichen
Moglichkeiten der
Theater-Ensembles die
Komponisten
beeinflussten. Die Spanne
reicht von weitgehend
beliebigen Arrangements
mit grosstmoglichem
'Wiederverwendungswert'
bis hin zu gross
angelegten 'analogen', d.
h. ausschliesslich auf
ein bestimmtes Schauspiel
bezogenen, vorbildhaften
Kompositionen (z. B.
Beethovens Egmont, Webers
Preciosa, Mendelssohns
Sommernachtstraum-Musik).
Besonderes Interesse gilt
der Problematik der
Edition von
Schauspielmusiken, die
durch ihre enge Bindung
an das Drama einen
fachubergreifenden
Austausch unter
Literatur-, Theater- und
Musikwissenschaftlern
erforderlich macht. Hier
zeigt sich, dass kaum
eine 'Patentlosung' zu
finden ist; vielmehr
stellt jeder Komponist,
jedes Werk andere
Anspruche an den Editor.
Ausgehend von einem
Grundkonsens, der die
wechselseitige
Bedingtheit von Drama und
Musik unterstreicht,
fuhren nur individuelle,
vom einzelnen Werk
ausgehende Strategien zu
einer adaquaten
Wiedergabe in der
Edition.
28 Original Beginning Piano Solos by "the Masters" - Plus an Enhanced CD with Pe...(+)
28 Original Beginning
Piano Solos by "the
Masters" - Plus an
Enhanced CD with
Performances, Master
Class Lessons and Midi
Files. By Albert
Ellmenreich; Bela Bartok;
Carl Maria Von Weber;
Carl Philipp Emanuel
Bach; Edvard Grieg;
Francois Couperin; Franz
Joseph Haydn; Franz
Schubert; Henry Purcell;
Johann F.F. Burgmuller;
Ludwig Van Beethoven;
Peter Ilyich Tchaikovsky;
Robert Schumann. Edited
by Paul Sheftel, Phyllis
Alpert Lehrer. Solo
piano. For Piano Solo.
Score and Audio CD. 48
pages. Published by Carl
Fischer.