The Transcription of the Four-Handed Piano and the Acceptance of Repertoire of Nineteenth-Century Europe Symphony


Abstract


In the 19th century, listening to symphony was a rare and precious enjoyment. Few people can afford to participate in the symphony regularly, even those who are fortunate enough to hear a favorite work every few years. However, music lovers of the 19th century can listen to their favorite symphony anytime: by playing arrangements. The arrangement of the symphonies, especially the symphony of the four-handed piano, was very popular. Amateur musicians played arrangements before the concert to familiarize them with unknown works and then relive the music they like. In the 20th century, recordings took over this function. Today, it is no longer the grandeur of the rare and precious orchestra; this is the act of music creation. This paper examines the role played by the four-handed piano recordings in the reception of symphonic music in the 19th century. The history of four-handed piano recordings shows that active participation in music creation plays a vital role in understanding and appreciating the symphony.

References


Barsova, I., 2012. Arrangements for piano four hands in dmitrii shostakovich’s creative work and performance. In: Ivashkin A, Kirkman A Eds.,167-189.

Christensen, T., 1999. Four-hand piano transcription and geographies of nineteenth-century musical reception. Journal of the American Musicological Society, 52(2), 255-298.

Miller-Kay, E., 2018. Four-Hand piano transcriptions and the reception of symphonic repertoire in Nineteenth-Century europe. Malaysian Journal of Music, 7, 195-207.

Vikarius, L., 2008. Bartok: ‘Bear dance’. Studia Musicologica, 49(3-4), 341-367.


Refbacks

  • There are currently no refbacks.






 

 Copyright  2019 Hermathena. All rights reserved.