abstract: The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvořák’s full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Bärenreiter (2011) and Bärenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvořák’s Cello concerto in B minor. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T12:40:48Z (GMT). No. of bitstreams: 1 Pinheiro_RodrigoFalson_M.pdf: 2773962 bytes, checksum: 2fdb19214b9f6842f6333b12488b3fd4 (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa, de cunho essencialmente prático, teve por finalidade desenvolver uma coletânea de exercícios para a redução da partitura coral ao piano, visando a atender às necessidades de estudantes de regência quanto às técnicas de leitura dessas partituras, apresentando um material que tratasse desse assunto. Realizamos este trabalho coletando, criando e adaptando exercícios voltados para a prática da redução ao piano e, assim, também incluímos trechos de obras do repertório coral. Em cada exercício, propomos algumas soluções para os problemas, do ponto de vista da leitura. Na partitura coral, normalmente escrita em mais de duas pautas, cria-se o problema do movimento do olho ao se fixar as informações contidas na partitura. Os exercícios foram incluídos por grau de dificuldade: primeiramente, partituras escritas em duas pautas, posteriormente, a três pautas, e, assim, sucessivamente, até chegar a quatro pautas, fazendo com que o estudante abra seu campo de visão da leitura de uma maneira progressiva. Os exercícios e os trechos homofônicos do repertório coral exigem uma fixação e um movimento de olho diferente para trechos polifônicos. Devido a esse fato, estruturamos os exercícios de maneira a levar o estudante a desenvolver a abertura do seu campo de visão, em sentido vertical e horizontal, para posteriormente introduzir trechos polifônicos. Como apêndice deste trabalho, incluímos um capítulo sobre claves antigas e alguns exercícios que devem ser realizados ao piano. Foram feitas quatro entrevistas com músicos gabaritados sobre a questão da leitura e da redução de partituras ao piano no intuito de enriquecer a dissertação. As entrevistas foram gravadas em fita cassete e depois transcritas. Análises foram feitas sob a ótica da pesquisa qualitativa, destacando-se, dentro da fala dos entrevistados, pontos importantes sobre a problemática da redução / Abstract: It is the purpose of this work, essentiality practical, to develop a collection of exercises to help the student of conducting to develop the ability to effect the reduction of a choral musical score at the piano. Because of limited literature and support material on this subject matter we tried to develop a procedure to help with the practice of score reading and score reduction at the piano by collecting, creating and adapting various and appropriate musical examples. Excerpts of works from the choral repertoire have been included as exercises and for each we proposed a few solutions for the different problems that might arise from the aspect of eye movement. In the choral score normally written on more than two staves a problem arises, that of the eye movement and the effort to retain all information found in the score. Appropriate exercises have been indicated and are presented by degrees of difficulty. At first a musical score written on two staves, then three and finally the standard four to address this very aspect and also as a way to allow the student to open his field of vision in a progressive manner. The reading of homophonic music demands the fixation and movement of the eye that is different from that of polyphonic. Because of it we have tried to structure exercises in such a way as to lead the student to develop the ability to widen his field of vision both vertically and horizontally, in preparation for the reading of polyphonic excerpts. In the appendix we have included a chapter about old clefs and a few exercises to be realized at the piano as well. Four personal interviews with respected musicians in this field have also been included. They were first recorded on tapes and later transcribed to the printed page. Their final version was effected after qualitative research evaluation which addressed not only problematic aspects inherent in score reduction but the important musical elements as well / Mestrado / Mestre em Música

abstract: The purpose of this research is to create a new piano reduction of Carl Nielsen’s Flute Concerto. Danish composer Carl Nielsen was born in 1865 and died in 1931. His compositional focus on orchestral writing made him renowned for his symphonies and concerti for flute and clarinet. Today his concerti are often performed by both professional musicians and students. The first published piano reduction of the Flute Concerto was issued in 1952 by the composer’s son-in law, Emil Telmányi, who was a Hungarian violinist and conductor. This reduction was published by Samfundet til Udgivelse af Dansk Musik. In 2003, as part of The Carl Nielsen Edition, Edition Wilhelm Hansen published a new revised edition of the concerto. The piano reduction of this edition was written by Danish pianist Per Salo, and is the most frequently used by pianists today. This edition contains much information pertaining to the orchestration, but this often causes the piano part to become challenging or unplayable in many passages. For collaborative pianists, playing concerti requires both the ability to imitate the orchestral sound, and to understand and show the main ideas of each passage. However, as this concerto is often performed in universities by flutists and pianists of different skill levels, creating a simplified version of the piano reduction will support many pianists by helping them to learn this music in a more approachable and easily performable context. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.

Summary: Without a doubt, Hans Krása belongs amongst the most important figures in Czech music. In my thesis, I would like to focus on his opera for children, Brundibar, which represents an important bridge between free cultural expression and life behind the walls at the Terezin concentration camp. Clearly, it will be fruitful to compare both the Prague and Terezin versions of this piece. With this work, I would like to delve into the personality of the composer, his output, and musical life in the Terezin ghetto. Key words: Analysis, Brundibar, holocaust, interpretation, opera, orchestra score, piano reduction, Terezin Ghetto, Terezin Initiative.

The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.

Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

While he was composing his important orchestral tone poem Finlandia in 1899–1900, Jean Sibelius (1865–1957) made his own piano arrangement of it. The purpose of this study is to compare the piano arrangement and orchestral version and to see further the similarities with Sibelius's other piano compositions from the same time period (1899-1904). Through this study I have found compositional patterns, which are typical for the composer and defined his composition style for piano during his "Kalevala-Romantic" phase. Sibelius's piano style was characterized as unpianistic and bulky by some. However, through my research I can show that with an analysis of certain harmonic structures, subtle use of pedal and correct voicings, his piano texture is indeed very thoughtful and transparent with a clear focus on counterpoint while remaining pianistic and comfortable to play. In order to fully understand the idiosyncrasies of the two versions of Finlandia, a detailed comparative analysis of the piano and orchestral scores is necessary. For this purpose, I primarily used the printed scores of both the piano and orchestral versions. In addition, the manuscript of the piano version of Finlandia was consulted as an important resource. From the orchestra manuscript, only one page has been found. The analysis focuses on the comparison between the textures of both versions, the score and the piano arrangement. I also applied the results of the comparison to the other scores of Sibelius's piano compositions from that time period to show his consistency in his use of the described arrangement techniques. With using the orchestration possibilities of the piano Sibelius's writing allows the instrument to stand completely on its own using all the possibilities of the piano sound while maintaining a highly pianistic texture. The goal of my research is to provide insight to understanding Sibelius's early piano style, introduce some performance practice ideas appropriate to this period, and highlight his smaller-scale works such as the character pieces and songs of this period.

The dissertation seeks to rediscover Julius Schloss, a German Jewish composer victimized by the Nazis. Except for the promising start of his career in his early years, Schloss suffered a hard life as an exiled refugee. However, his unusual experiences inspired him to compose two Chinese Rhapsodies during his last years of exile in Shanghai, in which he synthesized Western composition techniques and Chinese folk materials, amalgamating influences from both Western and Eastern music cultures. Focusing on Schloss's First Chinese Rhapsody, the dissertation explores how Schloss links the new to the old, the West to the East, through an analysis of the way he employs Chinese folk song material and serial polyphonic voice-leading in his post-tonal musical language. Since the Rhapsody has both serial and polyphonic voice-leading aspects, both are analyzed, showing how they are integrated in the form.