Four Hand Piano Transcription
Four Hand Piano
During the nineteenth century, four hand piano transcriptions were widely published for all types of musical genres. Pianos became more affordable and widespread, and the piano became the centerpiece of home and salon life for more and more middle-class families. The demand for arrangements of orchestral scores increased in the mid-19th century. However, four-hand piano arrangements were dismissed as uninspired and unremarkable. As a result, the four hand format was often not seen on the concert stage in the United States. However, this trend has begun to change in the 21st century. Several works for piano four hands are now suitable for professional concert performances.
The first major composer to demonstrate an interest in four-hand piano transcriptions was Wolfgang Amadeus Mozart. He scored several pieces for two pianos, most notably the D Major sonata. He was also inspired by his childhood piano playing with his sister Nannerl. In the same style, Mozart also scored the Rapsodie espagnole by Ravel. This piece requires all four hands to be interchanged. The Rapsodie espagnole has a third movement, “Habanera,” which is written in a convenient hand position for the two pianists.
Four hand piano transcriptions often re-voiced operas and oratorios. They were also popular vehicles for the domestication of public genres, such as opera, for the home consumption of the middle class. A four hand arrangement stripped instrumental timbres from a musical work, making it accessible to a wider audience. As a result, a piano four hand arrangement essentially miniaturized a symphony.
Four Hand Piano Transcription
One of the most challenging aspects of playing piano four hands is finding balance between the two musicians. Each musician is required to make the most of their limited resources, while maintaining the unified sound of the piece. The first challenge in playing this music is to find the right balance between the two instruments, while allowing for intuitive rapport between the two players. This may require a long period of association with one’s partner. Often, the two musicians are married. The four-hand arrangement allows two people to play virtually any repertoire. However, because of the intimate nature of this style, it may not be suitable for large concert halls.
The second challenge involves the middle hands. The left hand of the “primo” pianist is usually seated on the top half of the piano while the right hand of the “secondo” pianist is seated on the lower half of the piano. The primo’s left hand has to learn to play with the right hand of the “secondo,” which has to play higher notes. There are also a variety of technical challenges that must be overcome. For example, if the two players accidentally strike one or more fingers during a three-note gesture, then the note will be lost. During the fourth movement, the “secondo” player will pedal heavily to sustain chords. In the final moments, three repeated notes are played.
Four-hand piano arrangements are often written side by side, with the right hand of the “secondo” player opening the score and the left hand of the “primo” pianist playing the opening. Sometimes, the two hands are written to interlace, which allows the left and right hands to play at the same time. In other cases, a comma is used between the entrances of the two players. In the first two instances, the comma allows the hands to dodge, which means the two players can play the same note at the same time. The third instance has a prolonged comma before the final F sharp unison.