Beethoven arr. by Beethoven: Violin Concerto to Piano Conc.

Transcription

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2 Beethoven arr. by Beethoven: Violin Concerto to Piano Conc. 1 st Mvt.: Mm Violin Solo 1 st Mvt.: Mm Piano Solo - Triplets become sixteenth notes (m. 415) - Melodic outline is modified (mm. 421f, 426) - Change of octave (mm. 421f), octaves are added (mm. 423f) - Left hand doubles the right hand one octave lower (mm. 418ff, 426f) - Left hand provides harmonic accompaniment and/or modifies the solo line (mm. 422ff)

3 Beethoven arr. by Beethoven: Second Symphony arr. for Piano Trio - Piano alone plays the strings - Vl and Vc play the wind instruments 1 st Mvt.: Mm Original 1 st Mvt.: Mm Piano Trio

4 - Piano plays strings - Vl plays flute and 2 nd vl - Vc plays bassoon st Mvt.: Mm Original 1 st Mvt.: Mm Piano Trio

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6 Beethoven: Andante con moto (5 th Symphony) Arr. for Organ (Jens Korndoerfer) Mm. 108f Original Mm Organ Solo (Korndoerfer)

7 - Liszt added notes - L. changed the texture (m. 78) Mm Original Beethoven V/2 Mm Piano Solo (Liszt)

8 Mm Organ Solo (Korndoerfer) Beethoven V/2

9 Beethoven V/2 Mm Original

10 Beethoven V/2: Mm Organ Solo (Korndoerfer) Vl 1/2 Fl, Ob, Bs Va Vc, Db/Brass, Tp - The thirds in the left hand in m. 184 are inspired by Liszt - The left hand has two roles: play vl 1 and 2 (2 nd system) and the trem. of the va (3 rd system). modified according to Beethoven and Liszt - The right foot helps to replace the 32 nd note trem. and completes the harmony - The left foot plays the rhythm of brass and timpani with the notes of the bass line

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12 Transcriptions! are very multi-faceted! can promote the original and art in general! can benefit the instrument and the original composition! can be objective, personal, or 'for profit! and compositions can sometimes be hard to distinguish from one another! (even by the composer himself) can include liberties in the text, orchestration, rhythm, etc.! can include additions to the original! can help to push the limits in organ performance (stop and manual changes, use of swell pedals, playing on two manuals with one hand, double pedal, etc )

13 Lemare: Pro and Contra Transcriptions [A] noted critic stated that he had [ ] blessed the day when I was inspired to arrange orchestral scores for the organ, [which gave] him a great thrill. But one day being obliged to review a recital given on a comparatively small organ by an organist of ordinary attainments [ ], he felt like cursing the day when I made possible the playing of orchestral scores on the organ Edwin H. Lemare, Organs I have met (Los Angeles: The Schoolcraft Company, 1956), p. 77.

14 [The Journalist] continues, The Ride of the Valkyries, on an organ with the necessary orchestral coloring and given the proper rendition was one thing, but that same number on an organ inadequate in every way, and played as the general run of church organists would render it, was quite another story, and I left the church with murderous thoughts on my mind [ ]. I further contend that unless an organist has the right conception of an orchestral score, it is fatal [ ] for him to attempt to render orchestral scores on the organ. Edwin H. Lemare, Organs I have met (Los Angeles: The Schoolcraft Company, 1956), p. 77.

15 Please contact me at

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17 Bibliography ARTICLES AND BOOKS Lemare, Edwin H.. Organs I have met. Los Angeles: The Schoolcraft Company The Art of Organ Playing in The Musical Editor. Ed. Greig, John, IV. Caxton Publishing Company, Ltd., London, England. N.d. [ca. 1910?] In the Adelaide Advertiser. September 3, Quoted from Lemare, Edwin H.. The Organ Music of Edwin H. Lemare. Series II (Transcriptions). Volume IV. Boston: Wayne Leupold Editions In the San Francisco Chronicle. March 11, Quoted from Lemare, Edwin H.. The Organ Music of Edwin H. Lemare. Series II (Transcriptions). Volume IV. Boston: Wayne Leupold Editions Liszt, Franz. Preface. In Beethoven, Ludwig van. Symphonies. Vol. II. Trans. C.E.R. Mueller. N.p.. Melville, NY: Kalmus. 198-?.

18 Bibliography (continued) MUSIC Beethoven, Ludwig van. Concert für die Violine. Op. 61. In Beethovens Werke. Serie 4, Nr. 29. Leipzig: Breitkopf und Härtel, Beethoven_Violin_Concerto_Op61_Allegro.pdf (Accessed Oct. 26, 2012) Concert für das Pianoforte. Nach dem Violin-Concert Op. 61. In Beethovens Werke. Serie 9, Nr. 73. Leipzig: Breitkopf und Härtel, Beethoven_arr_Violin_Concerto_for_Piano_Op61a.pdf (Accessed Oct. 26, 2012) Zweite Symphonie. Op. 36. D-Dur. In Beethovens Werke. Leipzig: Breitkopf und Härtel, Beethoven_Werke_Breitkopf_Serie_1_No_2_Op_36.pdf (Accessed Oct. 26, 2012).

19 Bibliography (continued) Trio für Pianoforte, Violine und Violoncell nach der zweiten Symphonie. Op. 36. In Beethovens Werke. Leipzig: Breitkopf und Härtel Beethoven_Werke_Breitkopf_Serie_11_No_90_Op_36.pdf (Accessed Oct. 26, 2012) Symphonie Nr.5. In Beethovens Werke. Serie 1, Nr. 5. Leipzig: Breitkopf & Härtel, Beethoven_Werke_Breitkopf_Serie_1_No_5_Op_67.pdf (Accessed Oct. 26, 2012) Beethoven Symphonies Transcribed for Solo Piano, Vol.1 (Nos.1 5). Arr. Franz Liszt. Mineola: Dover Publications, Liszt_Symphony-5.pdf (Accessed Oct. 26, 2012).

20 Bibliography (continued) Wagner, Richard: Die Meistersinger von Nürnberg: Overture. Arr. by Lemare, Edwin H.. In Lemare, Edwin H.. The Organ Music of Edwin H. Lemare. Series II (Transcriptions). Volume IV. Boston: Wayne Leupold Editions, Siegfried Idyll. Arr. by Lemare, Edwin H.. In Lemare, Edwin H.. The Organ Music of Edwin H. Lemare. Series II (Transcriptions). Volume IV. Boston: Wayne Leupold Editions, 1992.