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What are you asking? The transcription of a complete opera, a scene, a chorus, an aria, an overture? A transcription, an arrangement, a fantasy, a paraphrase, a "reminiscence"? There are so many options that maybe you could limit the scope of the question somewhat.
I'll answer that question by asking one myself (like Mr Szell likes to answer a question with a question ) - just how well does the operatic tune(s) translate to the piano? Or in other words - how pianistic will it sound?
So, let me illustrate what I mean by a good transcription and a bad one:
Yet the composers are the same (both before and after the slash ) - and the second, truly atrocious transcription is actually the most well-known one in the entire universe (well, in the pianistic universe anyway), probably because it's relatively easy to play. In fact, even I can sight-read it......
Why is it so bad? Because it is so unpianistic, replete with tremolos from beginning to end - great on massed strings, truly horrible on the piano. The climax, which sounds cataclysmic on voice & big orchestra, sounds like an anaemic impala straining to aspire to be the powerful leopard, for which it's its favorite prey (sorry, folks, I recently watched them in a one-sided battle in Kruger NP, and afterwards had impala steak for dinner - yum! ), when played on the piano, even by a powerful virtuoso as here, with its repeated chords and more tremolos.
Whereas the Tannhäuser transcription lends itself to lots of effective pianistic gestures (and sounds like a real piano piece: that's the impression it gives if one didn't know its provenance), but unfortunately, it demands a lot of stamina as well as sustained power which few pianists - including most virtuosi - want to venture into. (BTW, hooray for this slight, lithe female pianist, winner of the Chopin Competition, for her powerful performance - which shows you don't need Russian bears to play it ).
I'll answer that question by asking one myself (like Mr Szell likes to answer a question with a question ) - just how well does the operatic tune(s) translate to the piano? Or in other words - how pianistic will it sound?
So, let me illustrate what I mean by a good transcription and a bad one:
Yet the composers are the same (both before and after the slash ) - and the second, truly atrocious transcription is actually the most well-known one in the entire universe (well, in the pianistic universe anyway), probably because it's relatively easy to play. In fact, even I can sight-read it......
Why is it so bad? Because it is so unpianistic, replete with tremolos from beginning to end - great on massed strings, truly horrible on the piano. The climax, which sounds cataclysmic on voice & big orchestra, sounds like an anaemic impala straining to aspire to be the powerful leopard, for which it's its favorite prey (sorry, folks, I recently watched them in a one-sided battle in Kruger NP, and afterwards had impala steak for dinner - yum! ), when played on the piano, even by a powerful virtuoso as here, with its repeated chords and more tremolos.
Whereas the Tannhäuser transcription lends itself to lots of effective pianistic gestures (and sounds like a real piano piece: that's the impression it gives if one didn't know its provenance), but unfortunately, it demands a lot of stamina as well as sustained power which few pianists - including most virtuosi - want to venture into. (BTW, hooray for this slight, lithe female pianist, winner of the Chopin Competition, for her powerful performance - which shows you don't need Russian bears to play it ).
Luckily, this is ONLY your viewpoint. I have read other concert pianists praise both of these transcriptions - c'est la vie.
Bennevis, I totally disagree with you on the Liszt/Wagner Liebestod, if played well it's great, if played not so well, it's a nightmare indeed, but to dismiss it as you did: NO! NO! NO! By the way, the rest of our species considers it as a fantastic adaptation. It all depends on the pianist, and isn't that true about all pianomusic?
Bennevis, I totally disagree with you on the Liszt/Wagner Liebestod, if played well it's great, if played not so well, it's a nightmare indeed, but to dismiss it as you did: NO! NO! NO! By the way, the rest of our species considers it as a fantastic adaptation. It all depends on the pianist, and isn't that true about all pianomusic?
Wow! I'll stay out of the Liebestod debate, but I agree with you that this is a tremendous transcription. Unfortunately, the YouTube post does not identify the (brilliant) pianist, but it does idenitfy the source as a Naxos recording. A visit to the Naxos website reveals two possibilities: Michael Ponti (a well-known name) and Matti Raekallio (a new name to me).
Wow! I'll stay out of the Liebestod debate, but I agree with you that this is a tremendous transcription. Unfortunately, the YouTube post does not identify the (brilliant) pianist, but it does idenitfy the source as a Naxos recording. A visit to the Naxos website reveals two possibilities: Michael Ponti (a well-known name) and Matti Raekallio (a new name to me).
Actually, if you click on "Show more" (in faint letters), you get the complete source, and the other composers represented on the CD (which is well worth having). The pianist is the brilliant Finn Matti Raekallio, and the CD is called "A Night at the Opera".
The record label is actually Ondine (which is Finnish, I think), which is distributed by Naxos.
Personally, I like a nice, simple transcription that I can play around with - sorry, improvise around! But, I've posted this on another thread (about lady pianists): Gluck/Giovanni Sgambati: Melodie from Orfeo ed Euridice 4:24 Horowitz/ after Bizet: Carmen Variations 7:40
The Gluck/Sgambati I've downloaded and I'm playing around with at the moment (I think it's a bit odd, but with a bit of modification will be nice to play) The Horowitz, not a chance!
OK -- I guess the Ride just doesn't lend itself to piano transcription as well as the Pilgrims' Chorus does. There's a reason why we have violins..... ;-)
What I'd love to hear -- and can't seem to find on the internet -- is a Mariachi version of the Ride. Does that sound like fun?
Personally, I like a nice, simple transcription that I can play around with - sorry, improvise around!
The Gluck/Sgambati I've downloaded and I'm playing around with at the moment (I think it's a bit odd, but with a bit of modification will be nice to play) The Horowitz, not a chance!
Why not try making your own piano transcription of a lovely tune like O mio babbino caro?
Personally, I like a nice, simple transcription that I can play around with - sorry, improvise around!
The Gluck/Sgambati I've downloaded and I'm playing around with at the moment (I think it's a bit odd, but with a bit of modification will be nice to play) The Horowitz, not a chance!
Why not try making your own piano transcription of a lovely tune like O mio babbino caro?
It works well on the piano because your LH can do arpeggios just as on the orchestra - make them as easy as you like.
Tempting, it's a lovely piece (and a nice version too). I'm not very good at getting the 'basics' - with somebody else providing the tune (I can get the notes easily enough but my timing is abysmal so writing it down is a chore) and basic chords I'm fine. Actually, I'll give it some thought, some more opera would be good. Somewhere I have a rather, well, interesting arrangement of 'One Fine Day' (off-hand can't think of the 'real name') and that was tremendous fun to play with for a while - real drama!
Somewhere I have a rather, well, interesting arrangement of 'One Fine Day' (off-hand can't think of the 'real name') and that was tremendous fun to play with for a while - real drama!
Somewhere I have a rather, well, interesting arrangement of 'One Fine Day' (off-hand can't think of the 'real name') and that was tremendous fun to play with for a while - real drama!
I'm not sure this will work well as a piano transcription. Whose arrangement is yours?
Sorry, no idea. When I stopped playing 8 or 9 years ago (after my bicycle accident) a lot of music was 'stored' in the basement. I can search it out if you like, but it will take some time I'm afraid - and it was one of those voice and piano arrangements, 3 pages with cover designed to entice. I picked it up second-hand at an 'Antique Fair' many years ago (along with a copy of John Field nocturnes and some Dvorak piano pieces and other bits and pieces). Btw, there is a nice Liszt transcription of 'Oh Star of Eve' from Tannhauser which I found in one of the other books I bought then (long since disintegrated, I'm afraid) but that can be found on IMSL. I've downloaded it, but at the moment my hands are too out of practice and my piano is in deep trouble, so I'm relying on an old keyboard and this would not sound anything on it. The only version I could find on you-tube didn't really chime with me, but as somebody pointed out in the comments, is OK from about 2 minutes 40 in. Better to download the score and enjoy.
Btw, there is a nice Liszt transcription of 'Oh Star of Eve' from Tannhauser which I found in one of the other books I bought then (long since disintegrated, I'm afraid) but that can be found on IMSL.
I bought the cheap Dover edition of "Liszt's complete transcriptions from Wagner's operas" several years ago (for the princely sum of £13.95 (USD15.95) - and pretty decent print quality too), and have played my way through it, including O, du mein holder Abendstern, which I agree works quite well on the piano.
Some music works better than others in piano transcription. There are other good transcribers of Wagner's music (like Louis Brassin), which have also been recorded by enterprising pianists:
) - just how well does the operatic tune(s) translate to the piano? Or in other words - how pianistic will it sound?
) - and the second, truly atrocious transcription is actually the most well-known one in the entire universe (well, in the pianistic universe anyway), probably because it's relatively easy to play. In fact, even I can sight-read it...... 
).
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