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Background: The art of transcription, the adaptation of a composition for an instrument other than that for which it was originally written, has always existed. One need only think of the countless Renaissance songs adapted for keyboard or of the transcriptions made by composers such as Liszt and Busoni, or, more recently, by Gould and Godowsky. And of course, there are the Vivaldi concertos that Bach arranged for organ. When making a transcription, it is often difficult to be completely true to the original composition. Indeed, as Liszt’s transcriptions of Schubert’s lieder so eloquently prove, some transcriptions go so far as to actually transform the composer’s ideas. The following examples, taken from this recording, illustrate the range of a transcription’s faithfulness. In the Bach chorale preludes Nun Komm der Heiden Heiland and Ich ruf zu dir, the hymn melody is simply transposed from the organ to the trumpet, and in the Trio in B minor, the upper voice is played on the trumpet rather than on one of the organ manuals. These transcriptions thus adhere rather well to the originals. However, the transcription of Albinoni’s Adagio is of a different order entirely since it is, in fact a reconstruction. In the manner of Maurice André, from whom two short cadenzas are borrowed, certain passages have been removed, others rewritten, and a number of ornamentations added. |
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COMPOSER: Johann Sebastian Bach (other
composers in brackets after works) |
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