I am convinced that transcribing music strongly tied to the piano (as Chopin's music can be) for other instruments is an arduous task, not that it cannot be done... but there is too much rubbish around.
As always in music, 2+2 does not make 4 and, if you can call it that... I knew about the existence of Jean Françaix's transcriptions of Chopin's preludes, but I had never heard them. I downloaded them last night from the tube; I don't know if you were aware of them, so I am submitting them to you.
It seems like excellent work; to be more "humbled," it is better to follow the orchestration with the original piano score.
In my opinion, the work is done so well that if one did not know that the pieces were originally written for piano, they would probably think they were original orchestral works.
Chopin-Françaix Préludes op. 28 Orchestration de Jean Françaix
I thank you very much for the report, I am happily surprised.
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giovannip
Member
Reply 3 by giovannip
Posts
553
although I am not a musician, I was very struck by the third part, namely the drop. Truly an excellent job, I find it extraordinary! significantly improved in this orchestrated version I would like to hear it in better audio quality, possibly live. I wonder what opinion Chopin might form if he heard it.
i find it extraordinary! significantly improved in this orchestrated version
When a composer performs an operation like that of Jean Françaix, it is as if the piece "is reborn" or otherwise acquires a new nature; I would say not better, but different. This way we take nothing away from Chopin
Giovanni wrote:
i would like to hear it in better audio quality, possibly live.
… and yes, it would be much better
Giovanni wrote:
i wonder what opinion Chopin might form if he heard it.
“… ah, so that's what the orchestra is for?” Obviously I'm joking, I adore our friend Fryderyk.
The fact that his music lends itself to this kind of work can only be a merit; I don't know if he was a jealous person, though
Jean Françaix succeeded in treating the orchestra in such a way as to maintain the character of the pieces, even if some actually do not work: 3 - 16 - 19 - 24 with the orchestra lose all their charm.
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Gerardo
Member
Reply 7 by Gerardo
Posts
277
rstrauss wrote:
even if some actually don't work: 3 - 16 - 19 - 24 with the orchestra lose all their charm.
You don't think they acquire a new one, sure, the originals no longer exist... but even these aren't bad
You find that they acquire a new one, sure, the originals no longer exist... but these aren't bad either
I am primarily a pianist; I have studied several of these preludes, and I tend to distrust certain transcriptions... especially when it comes to Chopin...
anyway... let's take no. 24 in D minor...
the particularly harsh and dark tonality, the torment and restlessness that the left hand alone confers upon the piece, are somewhat castrated with the orchestra... certainly due to the type of instruments used, the uniqueness of the piano with the pedal etc. ... let's just say that in the orchestral version I find it much less tormented and restless... despite the quality of the transcription, I think the piece does not perform as it should.
since if we take no. 4 in E minor instead (also performed at his funeral), it works very well with the orchestra.
If I were to make a ranking, aside from the 4 that I can't stand:
i greatly appreciated numbers
4 - 6 - 7 - 9 - 10 - 11 - 12 - 15 - 22
the numbers that do not completely satisfy me
1 - 2 - 5 - 8 - 13 - 14 - 17 - 18 - 20 - 21 - 23
Which, considering it is Chopin, is not bad.
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Natan
Member
Reply 9 by Natan
Posts
239
I'll just throw it out there, one should see what objectives Jean Françaix had set for himself ... maybe his restless self didn't like it
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lory
Member
Reply 10 by lory
Posts
106
These are very beautiful, do transcriptions by other authors also exist?
Regarding Rstrauss's post, it is a matter of taste; I too would have done something different in some cases. After all, each of us looks for what interests them in a piece, and it is not certain that everyone will find the same sonority or quality. That is the beauty of art: arriving at different places through the same work.
Our friend Jean Françaix has shown great taste and technique, so there is no need for me to tell him, and I don't think he needs confirmation.
Given Lory's question, it would be nice perhaps to hold a good orchestration workshop, maybe scheduled for late October (since until July we will be busy with other things, and lately we are all very busy and stretched thin).
If at least you, RStrauss, agree, choose the one you liked least by Jean Françaix and let's see what we can come up with.
Given Lory's question, it would be nice perhaps to hold a nice orchestration workshop to be scheduled maybe for late October (since until July we will be busy with other things and lately we are all very busy and overwhelmed).
If at least you RStrauss agree, choose the one you liked least by Jean Françaix and let's see what we can come up with.
I'll handle the bureaucracy of the topics.
If it were for late October, that would be fine for me... with RStrauss there would be at least 3 of us...
... despite the quality of the transcription, I think the piece does not render as it should.
I also like the harshness of the piano in certain moments, but there are orchestration choices that could have created a different effect from the one proposed in these... one should try to see; I will follow the workshop with curiosity.
