The Fine Art of Transcription

Multiple-piano performance and the art of transcription—two avenues of musical activity that seemed destined to converge. The prehistory may be gleaned from the example of J.S. Bach, whose own concerto for four keyboards was an arrangement of one of Vivaldi’s concerti for four violins. As we approach the midpoint of the 19th century, it is not uncommon to learn of grand events where orchestral warhorses were dispatched by literally dozens of pianists. Doubtless an element of spectacle crept into such occasions. How could it not? But musicians of the highest caliber were rapidly becoming aware of the piano ensemble’s potential for color, textural contrast, and sheer power, not to mention its capacity for executing a great many notes at the same time! Indeed, in these regards it may be the symphony orchestra’s only serious rival.

The history of piano transcription, whether for one or more players, is in itself a crucial chapter in the evolution of instrumental music, and its progress was spurred by seemingly opposing forces. On the one hand, the early 19th century witnessed the ascendance of the instrumental super-virtuoso, whose success depended on the steady production of dazzling arrangements, usually of popular operatic melodies. On the other hand, the same era witnessed the rapid growth of a middle class and a concomitant burgeoning of home music making. The favored grist of this amateur activity was the straightforward one piano, four-hand transcription of standard chamber, symphonic and operatic repertoire, at a time when access to “the real thing” was still exclusive. The duet format was ideally suited to both symphonic texture and social conviviality.

It was Franz Liszt, master of both the literal “transcription” and the free and flashy “arrangement,” who most consistently lent artistic distinction to the process of musical transformation. His impressive body of work also unwittingly proves that such adaptations are as revealing of their arranger’s culture as they are of the original author’s. (Just as a modern English translation of The Odyssey will say as much about our own era as Homer’s.) Schubert’s Lieder proved fertile source material for Liszt’s handiwork, and his version of Gretchen am Spinnrade, that stunning masterpiece of word-painting, seamlessly blends the romantic sensibilities of both musicians.

Among Liszt’s followers, Godowsky was a standout in the fin de siècle period. He fashions an exquisite, decadent tone-poem from the The Swan, nearly overladen with perfumed chromaticism, but reigned-in by the purity of Saint-Saëns’ melody. (Carnival of the Animals is further represented on this disc by a two-piano/violin setting of Aquarium.)

Debussy and Rachmaninoff were supremely adept at both the multiple-piano medium and the methodology of arranging. Indeed both were commissioned early in their careers to produce 4-hand versions of Tchaikovsky’s ballet music among other items, and each went on to produce masterpieces for piano ensemble. (See Rachmaninoff’s Romance from the sceond two-piano suite.) Gregory Anderson, a contemporary master of musical adaptation, has returned the compliment. His take on Debussy’s Clair de Lune is stylishly laid out for one piano, six-hands, and his ingenious five-piano setting of the familiar “18th Variation” of Rachmaninoff recalls both Godowsky’s imaginative embellishment and his firm grasp of line, while slyly alluding to the triplet figuration prominent in Rachmaninoff’s own aforementioned Romance.

American folk and popular music has provided a particularly rich source of adaptable melody. Indeed, in some sense its perpetuity is dependent on adaptation since it exists primarily as a fluid oral tradition, not in definitive urtext. Several of Gershwin’s timeless musical comedy numbers (such as Embraceable You), were given lavish virtuoso treatment by Earl Wild, who comfortably took his place in the great line of Romantic pianist-transcribers.

The Gershwin songbook was also a key component in the repertoire of the astounding jazz pianist Art Tatum. Jazz performers are by definition arrangers; in their hands the raw material becomes fully personalized as to sound, mood, and instrumental approach. Tatum recorded W.C. Handy’s Aunt Hagar’s Blues on several occasions, and each rendering is fascinating, but the version presented here (and played in literal transcription) is among those handful of jazz improvisations so inevitable as to stand as permanent “compositions.”

My own Reflections on “Shenandoah” is an original piece, but one that draws sustenance from the haunting American folk song, while redistributing its individual phrases at will. In contrast to a piano ensemble writing which emphasizes massed sonorities and luxuriant ornamentation, I have attempted to exploit the acoustical possibilities of five pianos, with the continuously shifting aural perspective suggesting a shimmering music heard from afar over a body of water.

English folk song serves as the springboard for Vaughan Williams’s variants on Dives and Lazarus, originally scored for divided string orchestra and harp. Gregory Anderson’s marvelously free adaptation enriches the modal texture with brilliant polyphonic figuration derived from the principal motives, and even works in a fragment of Sibelius, thus deftly linking the two great humane symphonists of the last century.

––JOHN NOVACEK

Dean Martin with The 5 Browns

Dean Martin is the epitome of “cool” and his recording became a perfect fit for The 5 Browns.

During one of the many strategy meetings between Sony BMG Masterworks and the management for The 5 Browns, it was decided that we needed to experiment a little with the next CD with regard to repertoire.

What Joel Diamond – Executive Producer and co-Manager with Keith Brown – came up with was to reach into his bag of music industry contacts to find a way to pull off a duet of Frank Sinatra with The 5 Browns – not unlike Natalie Cole did with Nat King Cole on Unforgettable.

Only by chance when Joel uncovered an EMI treasure chest of recordings, was he told by one of the EMI executives that they were in the process of recording an entire Duets CD for Dean Martin. This followed up on his last million-plus selling CD. EMI asked if The 5 Browns would join their array of super stars for Dino’s Duet CD.

Joel’s response was clear and succinct: “. . . only if we are allowed to re-create Dean’s signature song, with which he opened and closed his TV Show for so many years, “EVERYBODY LOVES SOMEBODY.” Joel added further that if they wanted The 5 Browns for their CD then “. . . we want the right to include the same recording on our next CD of The 5 Browns.”

With all permission granted, the result was sheer magic and it sounded like the recording was done by both artists in the studio simultaneously.

The 5 Brown’s found the experience quite amazing, recording at Capital Studios in Hollywood where Dean Martin had actually recorded practically all his albums up to and including “EVERYBODY LOVES SOMEBODY.” There were nostalgic pictures of the legendary Rat Pack plus other recording icons all over the walls creating a “bluesy” atmosphere. It was a privilege for the siblings to travel back in time.

The blend of Dean’s voice and the new 2007 five piano arrangement for The 5 Browns by Greg Anderson will certainly be memorable for many years to come.