Paraphrases and Transcriptions

An adaptation of a vocal or instrumental piece to a different medium, sometimes with variations.

When music became a more democratic art in the 19th century, not only the aristocracy but the middle class had PIANOS or HARMONIUMS in their drawing rooms, and professional musicians found a new outlet for their wares. OPERA and SYMPHONY had to be reduced to manageable proportions to make them accessible to the masses. Popular ARIAS, MARCHES, and BALLET numbers from favorite operas were arranged for the piano by highly capable musicians. Amateur adults and young children were offered arrangements of classical masterpieces that were not only musically adequate but also provided a social means of musical communication and entertainment. German publishers put out reams of musical literature for piano, four-hands or solo.

Today, we can hear a symphonic performance in recorded form. However, in the 19th century, the only way for an individual to hear a symphony at home was to play a piano version (or reduction) of the piece.

Some great pianists, themselves composers of stature, participated in this democratization of music. FRANZ LISZT made piano transcriptions of opera and symphonic compositions (including the complete symphonies of LUDWIG VAN BEETHOVEN), as well as songs of FRANZ SCHUBERT and ROBERT SCHUMANN. He also wrote fantasies on the motives of current opera favorites. CARL CZERNY took time off from writing his myriad piano exercises to publish arrangements of operatic airs. Such arrangements pursued an eminently practical aim, namely, to acquaint music lovers with the operatic and symphonic music of the day.