. Programme. selt, for concert use, in whichthe pianoforte is treated in a larger and more modern style than Y/ebers. II. For grand orchestra by Hector Berlioz. III. For two pianofortes, eight hands, by Otto Dresel. This versionwas popular in Boston in the sixties. IV. For pianoforte solo, with arabesques for concert performance,by Carl Tausig. Tausigs harmonies are often unlike Webers, andin the figuration of certain passages Webers ideas are overloaded withembroidery. The moderato coda is omitted. Weingartners transcription was performed for the first time onJanuary 30, 1896, at Berlin, by t
. Programme. selt, for concert use, in whichthe pianoforte is treated in a larger and more modern style than Y/ebers. II. For grand orchestra by Hector Berlioz. III. For two pianofortes, eight hands, by Otto Dresel. This versionwas popular in Boston in the sixties. IV. For pianoforte solo, with arabesques for concert performance,by Carl Tausig. Tausigs harmonies are often unlike Webers, andin the figuration of certain passages Webers ideas are overloaded withembroidery. The moderato coda is omitted. Weingartners transcription was performed for the first time onJanuary 30, 1896, at Berlin, by the Royal Orchestra. The transcrip-tion is dedicated to this organization. Weingartner wrote this prefaceto the score:— He who translates a poets work into a foreign language and merely transfers it,word for word, into the other idiom, will at most remain true to the sense, but willdestroy the poetic spirit of the original. He who arranges an instrumental work for another instrume^ or group of instru- &S. -BIGELOWKENNARD JEWELERS RECENT IMPORTATIONS r^ Czecho-Slovak glass Dutch Silver and Copies of old Spanish Ships Corner West and Washington Sts. Boston ^,, (Ehaniiler^CIo Tremont Street—Near West ESTABLISHED IN BOSTON FOR OVER A CENTURY Noted For Style Furs, Hats, Suits, Coats, Dresses, Robes Waists, Skirts, Underwear Gloves, Hosiery Tremont Street, Near West BOSTON ments and merely copies the notes of one part into the other will do something super-fluous, for the original will always be far better than the transcription, and the lattertherefore purposeless. In both cases the transcription must be so done that it can itself lay claim to theworth and character of the original and also find its complete reason of being inde-pendently of the latter. In a word, it will be necessary to translate poetically theoriginal work in manner corresponding to the new word language or tone examples in point are Franz Liszts transcriptions and arrangements of allk
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
