From Orchestra to Piano: Major Composers as Authors of Piano Reductions of Other

Composers' Works
Author(s): Marc-André Roberge
Source: Notes , Mar., 1993, Second Series, Vol. 49, No. 3 (Mar., 1993), pp. 925-936
Published by: Music Library Association

Stable URL: https://www.jstor.org/stable/898925

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to
Notes

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
 FROM ORCHESTRA TO PIANO:
MAJOR COMPOSERS AS AUTHORS
OF PIANO REDUCTIONS
OF OTHER COMPOSERS' WORKS
BY MARC-ANDRE ROBERGE

Despite their very large number and their usefulness, piano reduc-
tions and transcriptions have rarely been the subject of any systematic
inquiry.' Thus, an activity to which hundreds if not thousands of prac-
titioners have devoted much time has been almost completely ignored
by those musicians who continually rely on the availability of transcrip-
tions, yet take for granted their existence.2 The substantial number of
orchestral works recorded in piano transcription demonstrates that pi-
anists are now quite attracted to the capability of presenting music for
orchestra in the "black-and-white" format referred to by Franz Liszt in
a letter written in September 1837 to his Geneva friend Adolphe Pictet
de Rochemont, in which he admirably expressed the relationship be-
tween the orchestra and the piano:

Within the span of its seven octaves it encompasses the audible range of an orchestra,
and the ten fingers of a single person are enough to render the harmonies produced
by the union of over a hundred concerted instruments. ... Thus it bears the same
relation to an orchestral work that an engraving bears to a painting: it multiplies the
original and makes it available to everyone, and even if it does not reproduce the colors,
it at least reproduces the light and shadow.3

Marc-Andre Roberge obtained his Ph.D. in musicology at the University of Toronto and is now an
Assistant Professor at Laval University (Quebec). He is the author of Ferruccio Busoni: A Bio-Bibliography
(Greenwood Press, 1991). His main research interests are composer-pianists such as Alkan, Busoni,
Godowsky, and Sorabji. He is currently studying Busoni's relationships with the United States and
France and gathering documentation for a full-scale monograph about Sorabji.
1. Throughout this artice, piano reductions will be referred to as vocal scores in the case of operas
and choral works, and as piano arrangements, scores, transcriptions, or versions in the case of orchestral
works.
2. For a substantial historical survey, see Gian Luigi Dardo, "Trascrizione," in Dizionario enciclopedico
della musica e dei musicisti, ed. Alberto Basso (Turin: Unione tipografico- editrice torinese, 1984), II lessico,
4: 559-77 (orig. ed., 1966). The only extended historical studies about the piano reduction are dis-
sertations by Marlise Hansemann, Der Klavierauszug von den Anfdngen bis Weber (Leipzig: Noske, 1940;
Borna-Leipzig: Meyen, 1943); Helmut Loos, Zur Klavieribertragung von Werken fiir und mit Orchester des
19. und 20. Jahrhunderts, Schriften zur Musik, vol. 25 (Munich: Katzbichler, 1983); and Joachim-Dietrich
Link, "Der Opernklavierauszug in Geschichte und Gegenwart," 2 vols. (Ph.D. diss., Ernst-Moritz-Arndt-
Universitat Greifswald, 1984).
3. Franz Liszt, An Artist's Journey: Lettres d'un bachelier es musique, 1835-1841, trans. Charles Suttoni
(Chicago: University of Chicago Press, 1989), 40-51; 45.

925

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
926 NOTES, March 1993

Most authors of piano scores or reductions can be grouped into three

categories, which, of course, are not mutually exclusive. First, there are
the "professional" arrangers (Klavierausziigler), musicians who have ac-
quired such reputations in this capacity that their other accomplishments
may have been overshadowed, for instance Richard Kleinmichel (1846-
1901) and Otto Singer, Jr. (1861-1931), who arranged respectively
many works by Richard Wagner and Richard Strauss, or August Stradal
(1860-1930), who made piano versions of some 250 works by numerous
eighteenth- and nineteenth-century composers. Second, performers
may prepare piano reductions or transcriptions. The conductor Gustav
Friedrich Kogel (1849-1921) arranged operas by several nineteenth-
century composers, such as Jacques-Fran§ois Halevy, Conradin
Kreutzer, Gustav Albert Lortzing, and Heinrich August Marschner.
Similarly, Kurt Soldan (1891-1946) prepared the vocal scores for some
of the Verdi operas. Finally, composers may be considered by far the
largest category, due to the widespread practice of composers publishing
their own arrangements. Furthermore, many composers, including ma-
jor ones, have also arranged the works of other composers. It is this
specific category that provides the focus of the present article.
Various factors may prompt a composer to produce an arrangement
of a colleague's work. A composer may wish to champion a forgotten
or still unknown composer. In the age prior to recordings, the piano
reduction or transcription was an important means of transmitting
works by such composers to the public. A composer may receive a com-
mission to prepare piano arrangements for the Gesamtausgabe of another
composer. Alternatively, a composer may seek to publish transcriptions
simply to earn a living in difficult times. Finally, a composer may arrange
works by others for very practical reasons: to study the work of a master
(perhaps as a pedagogical exercise in composition) or to make a work
available for concert purposes.
The core of this article is an extensive, though selective, list gathered
from the following sources: compilations by the German musicologist
and librarian Wilhelm Altmann (1862-1951), in which piano transcrip-
tions of orchestral works are listed;4 the printed catalog of the music

4. Wilhelm Altmann, Orchester-Literatur-Katalog: Verzeichnis von seit 1850 erschienenen Orchester-Werken

... nebst Angabe der hauptsichlichsten Bearbeitungen, 2nd ed. (Munich: F. E. C. Leuckart, 1926; repr. ed.,
Walluf bei Wiesbaden: Dr. Martin Sanding, 1972) (a second volume, subtitled Neuerscheinungen 1926
bis 1935 und Nachtrdge, was published in 1936 and reprinted together with the preceding one); Ver-
zeichnis von Werken fur Klavier vier- und sechshdndig sowie fur zwei und mehr Klaviere (Leipzig: Friedrich
Hofmeister, 1943).

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
From Orchestra to Piano 927

collection of the New York Public Library;5 and various work-lists in

thematic catalogs and monographs on individual composers. The focu
here is on major nineteenth- and early twentieth-century composers w
have devoted a substantial amount of their time to the preparation o
piano reductions. Since the list is ordered alphabetically by arranger,
may be useful to begin with a chronological list of their names and dat
It will then be appropriate to give some life to the raw data containe
in the list of composers and their arrangements by drawing attention
certain historical aspects of the piano reduction

CHRONOLOGICAL LIST OF THE MAJOR COMPOSER-ARRANGERS

Hiller, Johann Adam (1728-1804) Indy, Vincent d' (1851-1931)

Neefe, Christian Gottlob (1748-98) Taneyev, Sergey (1856-1915)
Clementi, Muzio (1752-1832) Mahler, Gustav (1860-1911)
Hummel, Johann Nepomuk (1778-1837) Debussy, Claude (1862-1918)
Weber, Carl Maria von (1786-1826) Strauss, Richard (1864-1949)
Czerny, Carl (1791-1857) Dukas, Paul (1865-1935)
Liszt, Franz (1811-86) Busoni, Ferruccio (1866-1924)
Wagner, Richard (1813-83) Pfitzner, Hans (1868-1949)
Franck, Cesar (1822-90) Reger, Max (1873-1916)
Brahms, Johannes (1833-97) Rakhmaninov, Sergey (1873-1943)
Saint-Saens, Camille (1835-1921) Zemlinsky, Alexander (1871-1942)
Balakirev, Mily (1837-1910) Schoenberg, Arnold (1874-1951)
Bizet, Georges (1838-75) Ravel, Maurice (1875-1937)
Musorgsky, Modest (1839-81) Webern, Anton (1883-1945)
Tchaikovsky, Pyotr (1840-93) Casella, Alfredo (1883-1957)
Rimsky-Korsakov, Nikolay (1845-1924) Berg, Alban (1885-1935)
Faure, Gabriel (1845-1924)

The first composer to publish his own piano reductions, and appar-
ently the first to do so for other composers' works as well, was Johann
Adam Hiller, who was active in the second half of the eighteenth cen-
tury. Before Liszt, the only other important figure active in the field of
piano transcription was Johann Nepomuk Hummel, who produced pi-
ano versions of Beethoven's Symphonies Nos. 2-7. These arrangements
not only helped many people to discover these important works, but
were among the earliest in a long series of transcriptions for two to eight
hands by at least twenty arrangers, of whom Liszt is undoubtedly the
greatest. It was left to Liszt to set new standards by transforming the
craft of transcription into an art. Instead of simply transferring a work
from one medium to another, Liszt knew how to translate it; in other
words, he could grasp the essence, the genie, of the original and recreate
it in pianistic terms, thereby respecting the essence of the new medium

5. New York Public Library, Reference Department, Dictionary Catalog of the Music Collection, 33 vols.
(Boston: G. K. Hall, 1964-65); Supplement 1 (1966), Cumulative Supplement, 1964-1971, 10 vols.
(1973).

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
928 NOTES, March 1993

and making full use of its possibilities. In many cases, his main reason
for preparing piano transcriptions was his desire to popularize the works
of his colleagues at a time when their output was still little-known. An
important name in this regard is Hector Berlioz, of whose Symphonie
fantastique Liszt made a celebrated partition de piano. Liszt's greatest
achievement in the field of transcription, however, lies in his partitions
de piano of the symphonies by Beethoven, which, in recent years, have
fascinated numerous pianists. Like Liszt, for whom he had a profound
admiration, Ferruccio Busoni devoted a significant part of his output to
arrangement in all its forms: straightforward reductions, transcriptions,
fantasies on operatic themes, concert versions, and Nachdichtungen.6 In-
deed, for many years, Busoni's name has been unfortunately associated
more with his transcriptions, especially those of Johann Sebastian Bach's
organ works, than with his original compositions.
The Viennese cultural milieu of the late nineteenth- and early twen-
tieth-century proved an extremely fertile soil for the piano reduction.
In 1878, Gustav Mahler was commissioned by Anton Bruckner to pre-
pare a four-hand reduction of his Symphony No. 3 in D minor. In 1897,
Alexander Zemlinsky (who received professional support from Mahler
and later prepared the four-hand arrangement of his Symphony No. 6),
entrusted his pupil Arnold Schoenberg with the preparation of the vocal
score of his opera Sarema. Zemlinsky considered this task as a peda-
gogical exercise meant to familiarize his student with the large late ro-
mantic orchestra. A few years later, Zemlinsky and Schoenberg both
produced for Universal-Edition some arrangements (without text) of
operas by Lortzing and Rossini. For Zemlinsky and Schoenberg this was
work enabling them to earn a living, just as Wagner had done in the
early 1840s in Paris, arranging excerpts from operas by Donizetti and
Halevy for Schlesinger. Both Anton Webern and Alban Berg also pre-
pared arrangements of works by their teacher Schoenberg. Since not
only Schoenberg and Berg but also their pupils reduced works by their
own teachers, the piano reduction can be seen as an activity binding a
whole group of composers active in the same cultural environment. Be-
sides their practical value for performance by reduced forces (as in the
case of Schoenberg's Verein fur musikalische Privatauffiihrungen) or
for rehearsal, these arrangements undoubtedly helped their authors to
develop their knowledge of the new techniques of atonal music.
One of the results of the French Musical Renaissance, which is usually
dated from 1871 with the foundation of the Societe nationale de mu-

6. See my article "The Busoni Network and the Art of Creative Transcription," Canadian University
Music Review 11/1 (1991): 68-88.

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
From Orchestra to Piano 929

sique, was that French composers became more aware of their musica
past. An important manifestation of this new interest can be found
two large-scale projects involving five major composers. The first
these projects came about in the 1880s under the generic title of Chef
d'ceuvre classiques de l'opera franfais, which consisted in the publication
vocal scores (realized by a dozen arrangers) of forty operas by fourte
eighteenth-century composers.7 Both Cesar Franck and his pupil Vin
cent d'Indy made their first piano reductions for publication in t
series. The second project was the luxurious Rameau edition published
by Durand under the editorship of Camille Saint-Saens in the first qua
ter of the twentieth century.8 This edition included nineteen sta
works, of which the piano reductions were printed underneath the o
chestral scores. The major composers who took part in the project we
d'Indy, Claude Debussy, and Paul Dukas. As a consequence of the
involvement with this music, Debussy and Dukas each wrote a tribut
to Rameau: the former his "Hommage a Rameau" from Images (1st se
ries) in 1905, the latter his Variations, Interlude, and Fugue on a Theme by
Rameau in 1903.

The piano reduction thus played a significant role in the career

many major composers. Of course, the same is true of many other co
posers who cannot lay claim to the same historical significance as m
of those included in the following list. One need think only of (to na
but the most prolific) Theodor Kirchner (1823-1903), Leo Delib
(1836-91), Andre Messager (1853-1929), Wilhelm Kienzl (1857-194
Jan Brandt-Buys (1868-1933), and Gustave Samazeuilh (1877-196
Furthermore, many composers, both celebrated and unknown, p
duced other kinds of arrangements as well as orchestrations and editi
in an often quite impressive number. The amount of time that count
composers, for various reasons, have spent on the works of their co
leagues is probably much greater than one might think. This may ser
as a warning to anyone intending to embark on the daunting tas
writing a complete history of the piano transcription.

ALPHABETICAL LIST OF COMPOSERS AND THEIR ARRANGEMENTS

This list includes the completed piano reductions of operas, c

works, and works for orchestra by thirty-one important compose
Given the enormous number of their reductions, Czerny and Lisz

7. Chefs-d'ouvre classiques de l'opera franfais, 40 vols. (Paris: Theodore Michaelis, ca. 1880; re
New York: Broude Brothers, 1971).
8. Jean-Philippe Rameau, (Euvres completes, publiees sous la direction de C. Saint-Saens, 18 vols. (
Durand, 1895-1924).

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
930 NOTES, March 1993

been omitted.9 The titles of the works are entered alphabetically under
the names of their composers and are followed by the kind of arrange-
ment, according to the symbols listed below, and publication informa-
tion, or, in the case of unpublished arrangements, the abbreviation
"unpubl."1' The year in which the arrangement was made, if known or
different, is given at the end of the entry.
VS vocal score 1/2 two hands
VS/4 vocal score with piano 1/4 four hands
part for four hands
PS, PS/4 piano score for two or 2/8 two pianos, eight hands
four hands, without text

Balakirev, Mily (1837-1910) L'vov, Alexey (1798-1870)

Berlioz, Hector (1803-69) Undina (1848): Overture; 1/4 (Leipzig:
L'Enfance du Christ, Op. 25 (1850-54): publ. unknown, 1901); arr. 1900
"La Fuite en Egypte" (Introduction); 1/2
(St. Petersburg: publ. unknown, 1864)
Berg, Alban (1885-1935)
Harold en Italie, Op. 16 (1834); 1/4 (Paris:
Joubert, 1879); arr. 1876 Mahler, Gustav (1860-1911)

Dargomizhsky, Alexander (1813-69) Symphony No. 8 in Eb Major (1906-1907):

2nd movement; 1/2; arr. 1910 (MS lost)
Rogdana (1874-75) (two excerpts); 1/4
(St. Petersburg: publ. unknown, 1908) Schoenberg, Arnold (1874-1951)
Glinka, Mikhail (1804-57) Chamber Symphony No. 1 in E Major, Op.
9 (1906); 1/4 (unpubl.); arr. 1914
Capriccio brillante on the "Jota aragonese"
Gurrelieder (1900-1901); VS (Vienna:
(1845); 1/2, 1/4 (St. Petersburg: publ. un-
known, 1864; rev. ed., Mainz: Schott, Universal Edition, 1912)
1900); arr. 1864 Schreker, Franz (1878-1934)
Derferne Klang (1901-10); VS (Vienna:
Incidental Music to "Prince Kholmsky" by N.
V. Kukolnik (1840); 1/4 (publ. and date Universal Edition, 1911)
unknown); arr. 1864
Kamarinskaya (1848); 1/4 (St. Petersburg:
publ. unknown, 1863); 1/2 (Moscow:Bizet, Georges (1838-75)
publ. unknown, 1902) Gounod, Charles (1818-93)
Ruslan and Ludmila (1837-42): "Oriental Faust (1852-59); PS/4 (Paris: Choudens,
March"; 1/2, 1890 1874)

9. Extensive lists for these composers will be found in Carl Czerny, Erinnerungen aus meinem Leben,
ed. Walter Kolneder, Sammlung musikwissenschaftlicher Abhandlungen, vol. 46 (Strasburg: Verlag
Heitz, 1968), 75-76; and Humphrey Searle, "Franz Liszt," in The New Grove Dictionary of Music and
Musicians (London: Macmillan, 1980), 11: 28-74; 66-70. The last entry of Czerny's list reads "Many
other Arrangements exist by the talented Author of this Work, of which even the titles have escaped
his memory." Another entry, which reads "Besides many Overtures by Donizetti, Bellini, Berlioz, &c.
&c.", gives a good idea of the bibliographical problems involved.
10. It has not been possible, in many cases, to determine the publisher and publication year. These
data are very often missing from work-lists in monographs and encyclopedias; furthermore, some
original editions cannot be found in large-scale compilations such as the National Union Catalog. A
related problem is that the publication years given in such reference works are very often approximate
as a result of the absence of specific dates in the scores.

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
From Orchestra to Piano 931

Brahms,
Gallia, Motet for Soprano, Chorus, Or- Johannes (1833-97)
chestra, and Organ (1871); PS/4 (Paris:
Joachim, Joseph (1831-1907)
Choudens, 1872)
Overture to "Demetrius" by Hermann Grimm,
Incidental Music to "Jeanne d'Arc" by Jules
Op. 6 (1856); 2/4 (unpubl.); arr. 1856
Barbier (1873); 1/2 (Paris: E. Gerard,
1873); VS (Paris: Choudens, 1877) Overture to "Hamlet" by Shakespeare, Op. 4
(1853); 1/4 (unpubl.); arr. 1853-54
Incidental Music to "Ulysse" by Franfois Pon-
sard (1851); 1/2 (Paris: Choudens, 1852) Overture to "Henry IV" by Shakespeare, Op.
7 (ca. 1855); 2/4 (Berlin: Simrock, 1902);
La Nonne sanglante (1852-54); VS (Paris: arr. 1885
Choudens, 1855)
Schubert, Franz (1797-1828)
Philemon et Baucis (1859); VS (Paris:
Choudens, 1859) Mass No. 6 in Eb Major, D. 950; VS
(Leipzig: J. Rieter-Biedermann, 1865)
La Reine de Saba (1861); VS (Paris:
Choudens, 1862)
Busoni, Ferruccio (1866-1924)
Romeo et Juliette (1864); VS/4 (Paris:
Choudens, 1867) Bach, Johann Sebastian (1685-1750)
Masse, Victor (1822-84) Concerto for Piano and String Orchestra in D
Minor, BWV 1052 (1729-36) (BV B 30);
Le Fils du brigadier (1867); PS (Paris: 2/4 (Leipzig: Breitkopf & Hirtel, 1900)
Choudens, 1867)
Goldmark, Carl (1830-1915)
Massenet, Jules (1842-1912)
Merlin (1886) (BV B 56); PS (Leipzig:
Scenes hongroises (ca. 1871); 1/2 (Paris: Schuberth, 1888)
Heugel, 1871)
Mendelssohn, Felix (1809-47)
Mozart, Wolfgang Amadeus (1756-91)
Symphony No. 1 in C Minor, Op. 11 (1824)
Don Giovanni, KV 527 (1787) PS (Paris: (BV B 77); 2/8 (Leipzig: Breitkopf &
Heugel, 1867) Hartel, 1890)
Don Giovanni, KV 527 (1787): Overture Mozart, Wolfgang Amadeus (1756-1791)
and excerpts; 1/2 (Paris: Heugel, 1867);
1/4 (Paris: Heugel, 1867) [Symphonies]: No. 30 in A Major, KV
202 (186b) (1774); 32 in G Major, KV
L'oca del Cairo, KV 422 (1783); PS (Paris: 318 (1779); 37 in G Major, KV 444 (425a)
Choudens, 1867) (1783) (BV B 78-80); 1/4 (Leipzig: Breit-
Nicolai, Otto (1810-49) kopf & Hirtel, 1888)
Die lustigen Weiber von Windsor (1849); VS Die Zauberfolte, KV 620 (1791) (BV B 93):
(Paris: Choudens, 1866) Overture; 2/4 (Leipzig: Breitkopf & Har-
tel, 1923)
Reyer, Ernest (1823-1909)
Schubert, Franz (1797-1828)
trostrate (1862); PS (Paris: Choudens,
1862) Overture to "Der Teufel als Hydraulicus" by
J. E. Albrecht, D. 4 (1812) (BV B 98); 1/2
La Statue (1861); VS (Paris: Choudens, (Leipzig: Breitkopf & Hirtel, 1888)
1889)
[Overtures]: D Major, D. 26 (1812); Bb
Saint-Saens, Camille (1835-1921) Major, D. 470 (1816) (BV B 99-100); 1/2
Concerto for Piano and Orchestra No. 2 in G (Leipzig: Breitkopf & Hirtel, 1888)
Minor (1868); 1/2 (Paris: Durand, 1868) [Overtures]: D Major, D. 556 (1817); E
Le Timbre d'argent (1877); VS (Paris: Minor, D. 648 (1819) (BV B 103-4); 1/2
Choudens, 1879) (Leipzig: Breitkopf & Hartel, 1889)
Thomas, Ambroise (1811-96) Overtures "in the Italian Style" in D Major,
D. 590 (1817); C Major, D. 591 (1817)
Hamlet (1868); VS (Paris: Heugel, 1869)
(BV B 105-6); 1/2 (Leipzig: Breitkopf &
Mignon (1866); PS (Paris: Heugel, 1867) Hartel, 1889)

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
932 NOTES, March 1993

Schumann, Robert (1810-56) Tchaikovsky, Pyotr (1840-93)

Concerto Allegro in D Minor'for Piano and Swan Lake, Op. 20 (1875-76): Russian,
Orchestra, Op. 134 (1853) (BV B 109); 2/4 Spanish, and Napolitan Dances; 1/4
(Leipzig: Breitkopf & Hartel, 1888) (Moscow: Jurgenson, 1880)
Wagner, Richard (1813-88) Wagner, Richard (1813-83)
Siegfried, WWV 86C (1856-69) (BV B Derfliegende Hollinder, WWV 63 (1841):
111): Funeral March; 1/2 (Milan: Lucca, Overture; 2/4 (Paris: Durand, 1890)
1883)
Dukas, Paul (1865-1935)
Casella, Alfredo (1883-1957) Rameau, Jean-Philippe (1683-1764)
Beethoven, Ludwig van (1770-1827) Les Indes galantes (1735); VS (Paris: Du-
rand, 1902)
[Symphonies]: Nos. 1-9; 1/4 (Milan: Ri-
cordi, 1924) La Princesse de Navarre (1745); VS (Paris:
Durand, 1906)
Bruneau, Alfred (1857-1934)
Saint-Saens, Camille (1835-1921)
L'Enfant-Roi (1905): Prelude; 1/2 (Paris:
Choudens, 1905) Samson et Dalila, Op. 47 (1877); PS/4
(Paris: Durand, 1895)
Messidor (1897): Intermezzo; 1/2 (Paris:
Choudens, 1897)
Wagner, Richard (1813-83)
Tannhduser und der Singerkrieg auf Wart-
L'Ouragan (1901): Preludes ("Gail," "La burg, WWV 70 (1833-34): Venusberg
Baie de grace," "L'Ouragan," "Le De- Music; 2/4 (Paris: Durand, 1900)
part"); 1/2 (Paris: Choudens, 1906); arr.
1901
Faure, Gabriel (1845-1924)
Mahler, Gustav (1860-1911)
Saint-Saens, Camille (1835-1921)
Symphony No. 7 in E Minor (1904-1905);
Concerto for Piano and Orchestra No. 4 in C
1/4 (Berlin: Bote & Bock, 1909)
Minor, Op. 44 (1875); 2/4 (Paris: Durand,
1877)
Clementi, Muzio (1752-1832) La Princesse jaune, Op. 30 (1872): Over-
Haydn, Joseph (1732-1809) ture; 1/4, 2/8 (Paris: Durand, 1888)
Die Jahreszeiten, Hob. XXI: 3 (1799- Suite, Op. 49 (1877); 2/8 (Paris: Durand,
1801); VS (London: Clementi, Banger, 1880)
Collard, Davis & Collard, 1813) Suite algrienne, Op. 60 (1879); 1/4 (Paris:
Durand, 1880)
Die Schipfung, Hob. XXI: 2 (1796-98);,
VS (London: Clementi, Banger, Hyde,
Collard and Davis, 1800) Franck, Cesar (1822-90)
Mozart, Wolfgang Amadeus (1756-91) Duparc, Henri (1848-1933)
Don Giovanni, KV 527 (1787): Overture; Lenore (1875); 1/4 (Paris: Rouart, 1884)
1/2 (London: Clementi & Co., 1815) Philidor, Francois-Andre (1726-95)
Le Bicheron, ou Les trois souhaits (1763);
Debussy, Claude (1862-1918) VS (Paris: Michaelis, 1880s)
Rameau, Jean-Philippe (1683-1764) Erneline, princesse de Norvege (1767); VS
(Paris: Michaelis, 1880s)
Les Fetes de Polymnie (1745); VS (Paris: Tom Jones (1765); VS (Paris: Michaelis,
Durand, 1908)
1880s)
Saint-Saens, Camille (1835-1921)
Etienne Marcel (1879): Airs de ballet; 2/4 Hiller, Johann Adam (1728-1804)
(Paris: Durand, 1890) Graun, Carl Heinrich (1704-59)
Symphony No. 2 in A Minor, Op. 55 (1878); Der TodJesu (1755); VS (Breslau: Lowe,
2/4 (Paris: Durand, 1890) 1785)

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
From Orchestra to Piano 933

Gretry, Andre Ernest (1741-1813) Mahler, Gustav (1860-1911)

Zemire et Azor (1771); VS (Leipzig:Bruckner,
im Anton (1824-96)
Schwickert'schen Verlage, 1783) Symphony No. 3 in D Minor, WAB 103
Handel, George Frideric (1685-1759) (1873, 1876-77); 1/4 (Vienna: Theodor
Utrecht Te Deum, HWV 378 (1713); VS Rattig, 1880)
(Leipzig: im Schwickert'schen Verlage,
1780) Musorgsky, Modest (1839-81)
Haydn, Joseph (1732-1809) Balakirev, Mily (1837-1910)
Stabat mater, Hob. XXbis (1767); VS King Lear (1858-61): Overture and En-
(Leipzig: im Schwickert'schen Verlage, tr'actes; 1/4, 1860 (unpubl.?)
1781)
Overture on Three Russian Themes (1858);
Pergolesi, Giovanni Battista (1710-36) 1/4, 1860 (unpubl.?)
Stabat mater (1736); VS (Leipzig: Dy- Berlioz, Hector (1803-69)
kische Buchhandlung, 1774)
Romno et Juliette, Op. 17 (1839): "Fete
chez Capulet" and "Reine Mab"; 2/8,
Hummel, Johann Nepomuk (1778-1837) 1862 (unpubl.?)
Beethoven, Ludwig van (1770-1827) Glinka, Mikhail (1804-57)
Fidelio, oder Die eheliche Liebe, Op. 72 (ca. Ruslan and Ludmila (1838-41): Persian
1803-5): Overture; 1/4 (London: T. Chorus; 1/4, 1858 (unpubl.?)
Boosey, 1838); arr, 1813?
Summer Night in Madrid (1848); 1/4, 1864
[Symphonies]: Nos. 2-7; 1/2 (Mainz:(unpubl.?)
Schott, date unknown); arr. 1826-35
Neefe, Christian Gottlob (1748-98)
Indy, Vincent d' (1851-1931)
Martin y Soler, Vicente (1754-1806)
Castillon, Alexis de (1838-73)
L'arbore di Diana (1787), VS (Bonn: Sim-
Concerto for Piano and Orchestra in D Ma-
rock, 1796?)
jor, Op. 12 (ca. 1872); 2/4 (Paris:
Fromont, 1900) Mozart, Wolfgang Amadeus (1756-91)
Catel, Charles-Simon (1773-1830) La clemenza di Tito, KV 621 (1791); VS
(Bonn: Simrock, 1800)
Les Bayad&res (1810); VS (Paris: Michaelis,
1880s) Cosi fan tutte, KV 588 (1790), VS (Bonn:
Simrock, 1799)
Chausson, Ernest (1855-99)
Don Giovanni, KV 527 (1787); VS (Bonn:
Viviane, Op. 5 (1882); 1/4 (Paris: Le Simrock, 1797)
Bailly-Bornemann, 1888)
Die Entfiihrung aus dem Serail, KV 384
Destouches, Andre Cardinal (1672-1749)
(1782); VS (Bonn: Simrock, 1799)
Les Elements (1721); VS (Paris: Michaelis,
1880s) Le nozze di Figaro, KV 492 (1786); VS
(Bonn: Simrock?, 1796)
Gluck, Christoph Willibald (1714-87)
Paisiello, Giovanni (1740-1816)
Iphigenie en Aulide (1774); VS (publ. and
date unknown); arr. 1908 La bella Molinara (1789); VS (Bonn: Sim-
rock, 1794)
L'Ivrogne corrige, ou Le Mariage du diable
(1760); VS (Paris: G. Legoulx, 1925) Salieri, Antonio (1750-1825)
Rameau, Jean-Philippe (1683-1764) Axur, re d'Ormus (1788); VS (Bonn: Sim-
Dardanus (1739); VS (Paris: Durand, rock, 1796?)
1905) Schack, Benedikt (1758-1826)
Hippolyte et Aricie (1733); VS (Paris: Du- Der dumme Gartner aus dem Gebirge, oder
rand, 1900) Die beiden Anton (1789); VS (Bonn: Sim-
Zais (1748); VS (Paris: Durand, 1911) rock?, date unknown)

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
934 NOTES, March 1993

Pfitzner, Hans (1869-1949) Beethoven, Ludwig van [actually Friedrich

Hoffmann, Ernst Theodor Amadeus Witt (1770-1836)]
(1776-1822) Jena Symphony; 1/4 (Leipzig: Breitkopf &
Undine, AV 70 (1816); VS (Leipzig: Pe- Hartel, 1912)
ters, 1906) Brahms, Johannes (1833-97)
Marschner, Heinrich August (1795-1861) Symphony No. 1 in C Minor, Op. 68: An-
dante sostenuto (1876); 1/2 (Leipzig:
Der Templer und die Jiidin, Op. 60 (1829);
VS (Leipzig: Brockhaus, 1912) Simrock, 1916)
Symphony No. 2 in D Major, Op. 73: Ada-
Der Vampyr (1828); VS (Berlin: Fiirstner,
1925) gio non troppo (1877); 1/2 (Leipzig: Sim-
rock, 1916)
Rakhmaninov, Sergey (1873-1943) Symphony No. 3 in F Major, Op. 90: An-
Glazunov, Alexander (1865-1936) dante and Poco allegretto (1883); 1/2
(Leipzig: Simrock, 1916)
Symphony No. 6 in C Minor, Op. 58 (1896);
1/4 (Leipzig: Belaieff, 1898); arr. 1896 Symphony No. 4 in E Minor, Op. 98: An-
dante moderato; 1/2 (Leipzig: Simrock,
Tchaikovsky, Pyotr (1840-93) 1916)
Manfred, Op. 58 (1885); 1/4, 1886 (lost) Jaques-Dalcroze, Emile (1865-1950)
The Sleeping Beauty, Op. 66 (1888-89); Sancho (1896); VS (publisher and year
1/4 (Moscow: Jurgenson, 1892); arr. unknown)
1891
Rufer, Philippe Bartolome (1844-1919)
Ravel, Maurice (1875-1937) Ingo, Op. 38 (prod. 1896); VS (at author's
cost [Selbstverlag], 1895)
Debussy, Claude (1862-1918)
Wagner, Richard (1813-88)
Nocturnes (1862-1934); 2/4 (Paris:
Fromont, 1909) Die Meistersinger von Niirnberg, WWV 96
(1862-67): Prelude; 2/4 (Leipzig: Peters,
Prelude a l'Apres-midi d'un faune, (1892-
1914)
94); 1/4 (Paris: Fromont, 1910)
Tannhduser und der Sdngerkrieg auf Wart-
Delius, Frederick (1862-1934)
burg, WWV 70 (1843-44): Overture; 2/4
Margot la rouge (1901-1902); VS (Paris:
(Leipzig: Peters, 1914)
Levi-Lulx, 1905); arr. 1902
Tristan und Isolde, WWV 90 (1857-59):
Saint-Saens, Camille (1835-1921) Prelude and Liebestod; 2/4 (Leipzig: Pe-
ters, 1914)
La Jeunesse d'Hercule, Op. 50 (1876); 1/2,
before 1888 (unpubl.) Die Walkiire, WWV 86B (1854-56): Wo-
tan's Farewell and Magic Fire Music; 2/4
Reger, Max (1873-1916) (Leipzig: Peters, 1914)
Albert, Eugen d' (1864-1932) Wolf, Hugo (1860-1903)
Overture to "Esther" by Grillparzer, Op.Italienische
8 Serenade (1892); 1/4 (Leipzig:
(1888); 1/4 (Berlin: Bote & Bock, 1895)Lauterbach, 1904)
Bach, Carl Philipp Emanuel (1714-88) Penthesilea (1883-85); 1/4 (Leipzig: Lau-
terbach, 1903)
Four Symphonies, Wq. 183, H. 663-66
(1775-76); 1/4 (Leipzig: Peters, 1910)
Bach, Johann Sebastian (1685-1750) Rimsky-Korsakov, Nikolay (1844-1908)
Brandenburg Concertos, BWV 1046-51 Musorgsky, Modest (1839-81)
(1721); 1/4 (Leipzig: Peters, 1905-1906)
Boris Godunov (1874); VS (St. Petersburg:
Bessel, 1908); arr. 1896
Suites for Orchestra, BWV 1066-69 (ca.
1717-late 1730s); 1/4 (Leipzig: Peters,
The Marriage (1868); VS (St. Petersburg:
1907) Bessel, 1911); arr. 1908

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
From Orchestra to Piano 935

Tchaikovsky, Pyotr (1840-93) Taneyev, Sergey (1856-1915)

Overture-Fantasy "Romeo and Juliet" Arensky, Anton (1861-1906)
(1880); 1/4 (Berlin: Bote & Bock, 1880)
Hymn to Art for Solo Voices, Chorus, and
Orchestra (1884); VS (publisher un-
Saint-Saens, Camille (1835-1921) known, 1913)

Berlioz, Hector (1803-69) Suite in G Minor, Op. 7 (1885): 1st move-

ment; 1/4 (publisher unknown, 1886)
Le'io, ou Le retour a la vie (1831); VS
(Paris: Richault, 1855) Symphony No. 1 in B Minor, Op. 4 (1883);
1/4 (Moscow: Jurgenson, 1885)
Duparc, Henri (1848-1933)
Glazunov, Alexander (1865-1936)
Lenore (1875); 2/4 (Paris: Rouart, 1875)
Symphony No. 5 in Bb Major, Op. 55
Gounod, Charles (1818-93)
(1895); 1/4 (Leipzig: Belaieff, 1896)
Suite concertante for Pedal Piano and Or-
Tchaikovsky, Pyotr (1840-93)
chestra (1888); 2/4 (Paris: Leduc, 1888)
Nutcracker, Op. 71 (1891-92); 1/2 (Mos-
Reber, Napoleon-Henri (1807-80) cow: Jurgenson, 1892)
[Symphonies]: in D Minor, C Major, EbIolanta, Op. 69 (1891); VS (Moscow: Jur-
Major, G Major (1858); 1/4 (Paris: Cos- genson, 1892)
tallat, 1858-59)
Symphony No. 4 in F Minor, Op. 36 (1877);
1/4 (Moscow: Jurgenson, 1879)
Schoenberg, Arnold (1874-1951)
Symphony No. 5 in E Minor, Op. 64 (1888);
Lortzing, Albert (1801-51) 1/4 (Moscow: Jurgenson, 1888)
Der Waffenschmied von Worms (1846); PS/4
(Vienna: Universal Edition, 1903?) Tchaikovsky, Pyotr (1840-93)
Rossini, Gioachino (1792-1868) Dargomizhsky, Alexander (1813-69)
II barbiere di Siviglia (1816): Overture and
Kazachock (1864); 1/2 (Moscow: Jurgen-
15 numbers; PS/4 (Vienna: Universal son, 1867)
Edition, 1903)
Rubinstein, Anton (1830-94)
Schubert, Franz (1797-1828)
Ivan the Terrible, Op. 79 (1869); 1/4 (St.
Rosamunde, D. 797 (1823): Overture, In- Petersburg: Bessel, 1869)
terludes, and Ballet; 1/4 (Vienna: Uni-
versal Edition?, 1904?); arr. 1903? Don Quichote, Op. 87 (1870); 1/4, 1871
(St. Petersburg: Bessel, 1871)
Zemlinsky, Alexander (1872-1941)
Sarema (1894); VS (Munich: Berte, 1899) Wagner, Richard (1813-83)
Beethoven, Ludwig van (1770-1827)
Strauss, Richard (1864-1949)
Symphony No. 9 in D Minor, Op. 125
Gluck, Christoph Willibald (1714-87) (1822-24) (WWV 9); 1/2 (unpubl.); arr.
1830-31
Iphigenie en Tauride (1779); VS (Berlin:
Fiirstner, 1895); arr. 1889-90 Donizetti, Gaetano (1797-1848)
Raff, Joachim (1822-82) Lafavorita (1840) (WWV 62B); VS, VS/4,
Incidental Music to "Bernhard von Weimar" PS (Paris: Schlesinger, 1841)
(1858): Two Marches; 1/4 (Munich: Aibl,Halevy, Jacques (1799-1862)
1885) Le Guitarrero: Overture (1841) (WWV
Ritter, Alexander (1833-96) 62D); 1/2, 1/4 (Paris: Schlesinger, 1841)
Der faule Hans (1885): Overture; 1/2 La Reine de Chypre (1841) (WWV 62E);
(Leipzig: Kistner, 1885) VS, PS (Paris: Schlesinger, 1842)

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms
936 NOTES, March 1993

Haydn, Joseph (1732-1809) Wagner-Regeny, Rudolf (1903-69)

Symphony No. 103 in Eb Major ("Pauken- Johanna Balk (1938-40); VS (Vienna:
wirbel"), Hob. I: 103 (1795) (WWV 18); Universal Edition, 1941); arr. 1939
1/2; arr. 1831-32 (lost)

Zemlinsky, Alexander (1871-1942)

Weber, Carl Maria von (1786-1826)
Haydn, Joseph (1732-1809)
Vogler, Georg Joseph (1749-1814)
Samori (1803); VS (Vienna: T. Mollo, Die Schipfung, Hob. XXI: 2 (1796-98);
1803) PS/4 (Vienna: Universal Edition?, 1903)
Lortzing, Albert (1801-51)
Webern, Anton (1883-1945) Der Waffenschmied von Worms (1846); PS
Casella, Alfredo (1883-1947) (Mainz: Schott, 1900)
Paganiniana Op. 65 (1942); 1/2 (unpubl.); Zar und Zimmermann, oder Die zwei Peter
arr. 1942 (1837); PS (Vienna: Universal Edition,
Liszt, Franz (1811-83) 1900)
Arbeiterchor (before 1848); 1/2 (Vienna: Mahler, Gustav (1860-1911)
Verlag des Reichsverbandes der Arbei- Symphony No. 6 in A Minor (1904); 1/4
tergesangsvereine Osterreichs, 1924) (Leipzig: Kahnt, 1906)
Schoeck, Othmar (1886-1957) Mendelssohn, Felix (1809-47)
Das Schlofi Diirande, Op. 53 (1938-39);
VS (Vienna: Universal Edition, 1942) Elias, Op. 70 (1846); PS/4 (Vienna: Uni-
versal Edition?, 1904)
Schoenberg, Arnold (1874-1951)
Paulus, Op. 36 (1836); PS/4 (Vienna:
Five Pieces for Orchestra, Op. 16 (1909);
Universal Edition?, 1904)
2/4 (Leipzig: Peters, 1912)
Gurrelieder (1900-1901): Prelude and In- Schumann, Robert (1810-56)
terludes; 2/8 (unpubl.); arr. 1909-10 Das Paradies und die Peri, Op. 50 (1841-
Verklirte Nacht, Op. 4 (1899); 1/2 (un- 43); PS/4 (Vienna: Universal Edition?,
publ.); arr. 1911-12 1904)

This content downloaded from

145.91.240.7 on Thu, 09 Nov 2023 17:36:59 +00:00
All use subject to https://about.jstor.org/terms