Arranging Orchestral Music for the Pope of
Instruments:
An Applied Analysis of Arrangements by
Beethoven, Lemare and Liszt
Jens Korndoerfer
Graduate and Postdoctoral Studies
Schulich School of Music
McGill University, Montreal
December 2012
A paper submitted to McGill University in partial fulfillment of
the requirements of the degree of D.Mus. Performance Studies
©Copyright Jens Korndoerfer 2012
1
Table of Contents
Arranging Orchestral Music for the Pope of Instruments .......................................... 1
Abstract .................................................................................................................................................. 3
I. Introduction ...................................................................................................................................... 5
II. žArrangements from the View of Edwin H. Lemare and Franz Liszt ........................ 7
Edwin H. Lemare ............................................................................................................................................7
Franz Liszt ...................................................................................................................................................... 10
Other Arrangers: Ellingford and Jimmerthal ................................................................................... 10
Liszt continued ............................................................................................................................................. 13
III. Franz Liszt: Modifications to the Original Text in an Arrangement ....................... 15
IV. Lemare: Aspects of Organ Performance with Respect to Arrangements .............. 20
Manual Changes and Double Pedal ...................................................................................................... 23
Playing on Two Manuals with One Hand .......................................................................................... 26
V. Analysis of Arrangements by Ludwig van Beethoven.................................................... 30
Liberties in the Arrangement of the Violin Concerto for Piano ................................................ 30
Adapting String Tremoli to Keyboard Instruments ...................................................................... 35
Orchestration: Opposing Ensembles ................................................................................................... 40
VI. Conclusions.................................................................................................................................. 45
VII. Appendix I: Ludwig van Beethoven’s Andante con moto (Fifth Symphony)
arranged for the Organ by Jens Korndoerfer ........................................................................ 48
VIII. Appendix II: Ludwig van Beethoven’s Andante con moto (Fifth Symphony)
arranged for the Organ by Julius André .................................................................................. 70
IX. Appendix III: Bibliography ..................................................................................................... 72
Music ................................................................................................................................................................ 72
Books and Articles ...................................................................................................................................... 73
2
Abstract
Arrangements for keyboard instruments played a significant role in the
musical life of the nineteenth and early twentieth centuries. Based on an analysis of
writings and arrangements by Ludwig van Beethoven (i.e., the composer arranging
his own works), Edwin H. Lemare (i.e., a prolific arranger for the organ) and Franz
Liszt (i.e., a prolific arranger for the piano), this paper discusses their respective
reasons for arranging and their techniques of arrangement.
Their reasons for arranging orchestral works for keyboard instruments
range from the arrangement being beneficial to the original work (i.e., Liszt) to the
arrangement being beneficial to the instrument for which the arrangement was
written (i.e., Lemare). The discussion of technical aspects includes modifications of
the original by the arranger (i.e., Liszt), techniques specific to the organ such as
double pedal and playing with one hand on two manuals (i.e., Lemare) and the
transfer of writing specific to one family of instruments to another one, e.g., the
adaption of string writing to the piano (i.e., Beethoven).
The author has applied the results of his research in his own arrangement for
organ of the Second Movement from Ludwig van Beethoven’s Fifth Symphony.
Excerpts from this arrangement are presented after each analytical section, together
with an explanation of the decision-making process during the making of the
arrangement.
This paper concludes with an evaluation of the benefits of arrangements for
the organ in today’s music scene.
3
Les transcriptions ont joué un rôle majeur dans la vie musicale du dixneuvième siècle et au début du vingtième siècle. Fondée sur une analyse des écrits
et des transcriptions de Ludwig van Beethoven (un compositeur qui a transcrit ses
propres œuvres), Edwin H. Lemare (un arrangeur fécond pour l’orgue) et Franz
Liszt (un arrangeur fécond pour le piano), cette thèse doctorale discute des raisons
en faveur des transcriptions et la technique de ces trois compositeurs/arrangeurs.
Des raisons en faveur des transcriptions étaient par exemple les avantages de
la transcription pour la composition originale (Liszt) ou les avantages des
transcriptions pour l’instrument destinataire (Lemare). La partie concernant les
aspects techniques inclut les modifications par rapport à l’original effectué par
l’arrangeur (Liszt), des techniques spécifiques à l’orgue, comme le jeu avec double
pédale ou avec une main sur deux claviers en même temps (Lemare), ainsi que le
transfert d’une écriture caractéristique pour une famille d’instruments à une autre
famille d’instruments, c’est à dire des cordes aux instruments à clavier (Beethoven).
L’auteur de cette thèse a appliqué les résultats de ses recherches à sa propre
transcription du Deuxième Mouvement de la Cinquième Symphonie de Ludwig van
Beethoven pour orgue. Des extraits de cette transcription sont présentés après
chaque section analytique, avec des explications concernant les décisions prises
pendant la rédaction de la transcription.
La thèse se termine par une évaluation des avantages des transcriptions
destinées à l’orgue dans la vie musicale d’aujourd’hui.
4
I. Introduction
“Mon nouvel orgue? C’est un orchestre!”1 – Composer and organist César
Franck (1822-1890) expressed the common view of the nineteenth century,
comparing the organ’s kaleidoscope of colors to the variety of sounds in the
orchestra. Transcribing orchestral music for, and performing it on the organ was,
therefore, self-evident.
Throughout the nineteenth and in the early twentieth centuries,
arrangements played an important role in the popularization of music. Organ
arrangements of orchestral compositions - such as Richard Wagner’s Opera
Overtures arranged by Edwin H. Lemare (1865-1934), and Franz Liszt’s (18111886) piano versions of Ludwig van Beethoven’s Symphonies - were renowned, and
more than 50% of compilations like Alexander Wilhelm Gottschalg’s (1827-1908)
Repertorium für Orgel, Harmonium oder Pedalflügel unter Revision und mit Beiträgen
von Franz Liszt consisted of arrangements.
This situation changed in the early twentieth century with the birth of the
historical performance movement. Since then, the focus in both performance and
research has been on the original composition, not its (sometimes numerous)
arrangements for different instruments and/or ensembles. Given the questionable
artistic standards of many arrangements (e.g., Julius André’s arrangement of the
Second Movement from Beethoven’s Fifth Symphony; included in Appendix 2),2 this
César Franck, quoted from Vindent d’Indy, César Franck (Paris: F. Alcan, 1906), 33.
Ludwig van Beethoven, “Andante con moto,” from the Fifth Symphony, arr. for the organ by Julius
André (Offenbach: Johann André, n.d.).
http://erato.uvt.nl/files/imglnks/usimg/a/af/IMSLP90497-PMLP01586-8_Book3Book_3.pdf
(Accessed Oct. 26, 2012).
1
2
5
was definitely an understandable and maybe even necessary development. As such,
despite the significant number of published arrangements in the nineteenth century,
little research has been done on the subject.
Almost one century later, it seems to be appropriate to re-evaluate primary
sources of arrangements in their historical context. With this purpose in mind, I will
focus on three key figures: Ludwig van Beethoven (1770-1827), Franz Liszt and
Edwin H. Lemare. The study of their transcriptions provides answers to the many
questions about the process of arranging. Beethoven’s arrangements of his own
compositions give the composer’s own perspective on arranging; Liszt was one of
the most prolific and probably one of the most important arrangers for the piano;
what Liszt accomplished on the piano in the realm of arrangements, Lemare did on
the organ (as well as contributing frequently to scholarly journals).
The analysis of the arrangements and writings of these three arrangers
provides a window into the culture of arrangements in the nineteenth and early
twentieth centuries. In this paper, therefore, I will begin by describing the various
purposes and benefits of arrangements according to Liszt and Lemare. I will also
discuss Lemare’s philosophy of organ performance based on his own writings in as
far as it affects the interpretation of arrangements. Secondly, I will analyze
arrangements by Liszt, Lemare and – most importantly – by Beethoven. Each
analytical section will be followed by examples of my own arrangement for organ of
the Second Movement from Beethoven’s Fifth Symphony (referred to hereafter as
Beethoven V/2), in which I have applied the results of my research (the entire
6
version can be found in Appendix 1). Finally, I will conclude by commenting on the
general function and purpose of arrangements in today’s concert repertoire.
II. žArrangements from the View of Edwin H. Lemare and Franz Liszt
Arranging one’s own or other composers’ music has been a common practice
for hundreds of years, beginning with intabulations in the fourteenth century (e.g.,
Robertsbridge Codex, Codex Faenza, etc.). The reasons for this practice have been
manifold: enlargement of repertoire, commercial benefits, artistic apprenticeship
(e.g., Bach’s keyboard arrangements of Vivaldi’s concertos) or necessity.
In this section, I will give two significantly different views of arrangements in
the nineteenth and early twentieth centuries, based on quotations by Lemare and
Liszt. During their lifetime, both of them were widely renowned as performers,
composers and prolific arrangers. Their writings explain the purpose of their
arrangements and were fundamental in setting the guidelines for my own
arrangement of Beethoven V/2 for the organ.
Edwin H. Lemare
Edwin H. Lemare was a British organist who immigrated to the United States
in 1900, where he served as civic (or city) organist in Pittsburgh, San Francisco,
Portland and Chattanooga. Already in England, he had been well known for his
arrangements (in particular of Richard Wagner’s operas, as we will see later in this
paper), and they became a staple of his repertoire in his municipal positions in the
7
States.3 The following quotations explain why he performed orchestral music on the
organ and what he expected from it:
My great aim for the last 10 years has been to raise the organ to its proper
position as a solo instrument. I was one of the first seriously to fight the cause
of introducing modern orchestral works in the form of transcriptions for the
organ, whereby I hoped to get organ programs out of the old ruts or lines, so to
speak.4
This quote contains several revealing facts:
-
Lemare was not the first to perform (or make) arrangements, but he believed
himself to be the first to make the contemporary orchestral repertoire a
staple of his recitals;
-
He believed organ programs to be old-fashioned and conservative, most
likely unattractive for the general public; including arrangements would
remedy this situation;
-
In his view, the organ did – in 1903 - not yet have its proper position among
the solo instruments.
Whereas there can be no doubt that Lemare believed the inclusion of
arrangements of modern orchestral works into organ concert programs to be
beneficial for the status of the organ, he was not one of those who considered that
the organ could replace the orchestra:
I am not one of those who would ever say that the organ can imitate the
orchestra. This it can never do, but I consider that a great amount of the most
For further information, please refer to Lemare’s autobiography: Edwin H. Lemare, Organs I have
met (Los Angeles: The Schoolcraft Company, 1956).
4 Edwin H. Lemare, Adelaide Advertiser (September 3, 1903), quoted from Edwin H. Lemare, The
Organ Music of Edwin H. Lemare. Series II (Transcriptions), Vol. IV (Boston: Wayne Leupold, 1992), 4.
3
8
beautiful orchestral music can, when played on a good instrument, be made
most effective.5
The key phrase is ‘when played on a good instrument’: the quality of the
organ is intrinsically related to the success and even the feasibility of arrangements.
Later, we will encounter a similar claim made by Liszt with regards to arrangements
for the piano.
We are faced, however, with the question of why Lemare advocated the
performance of organ arrangements if – in his own opinion - the organ cannot
imitate the original version for orchestra.
He provided the answer with the following statement:
It [the organ] should be the musical center of the city, because it can be heard
by the greatest number at the smallest cost. It must never be played in
connection with any affair other than one which is essentially and intrinsically
musical.6
At a time when recordings did not yet exist and the price of tickets for
orchestral concerts was out of reach for most people, the organ provided an
attractive alternative. A symphony or overture performed by one single performer
instead of a full orchestra was considerably cheaper to produce and therefore more
accessible.
According to Lemare, the performance of arrangements on the organ is
mutually beneficial both to the original work and to the organ: to the original
(orchestral) work, because arrangements make it more accessible; to the organ,
Ibid, 4.
Edwin H. Lemare, San Francisco Chronicle (March 11, 1917), quoted from Edwin H. Lemare, The
Organ Music of Edwin H. Lemare, 5.
5
6
9
because the fame of the orchestral composition will attract a new audience and
elevate the organ to its rightful position among solo instruments.
Franz Liszt
Lemare’s idea of using an arrangement to make the original composition
more accessible and help its dissemination is not new: Liszt, too, expressed similar
thoughts in his preface to his piano arrangements of the nine symphonies by Ludwig
van Beethoven (begun in 1838 and completed in 1865):
[Beethoven’s] symphonies are universally acknowledged to be master-pieces;
whoever […] wishes to extend his knowledge […] can never devote too much […]
study to them. For this reason, every way or manner of making them accessible
or popular has a certain merit…7
Whereas we do find Lemare’s idea of popularizing the original through
arrangements in Liszt’s quote as well, there is a significantly different aspect in the
Hungarian pianist’s view: Liszt emphasized the quality of the original composition,
which justifies spending time studying it – this includes study through
arrangements or by arranging them. However, not any kind of arrangement is worth
one’s time.
[…] I consider my time well employed if I have succeeded in transferring to the
piano not only the grand outlines of Beethoven’s compositions but also all those
numerous fine details and smaller traits that so powerfully contribute to the
completion of the ensemble.8
Other Arrangers: Ellingford and Jimmerthal
The inclusion of ‘all those numerous fine details’ was of paramount
importance to Liszt and in stark contrast to many other arrangers’ views. To give
Franz Liszt, Preface, Vol. II, in Ludwig van Beethoven, Symphonies (arr. for the piano by Franz Liszt)
(Melville, NY: Kalmus, 198-?).
8 Ibid.
7
10
but two examples: Herbert F. Ellingford (1876-1966), a British organist and
arranger contemporary to Lemare, repeatedly encouraged arrangers in his Art of
Transcribing for the Organ to “[sacrifice] solo passages and prominent
accompanimental passages of the orchestral score […] where melodic and harmonic
features of greater moment prevailed.”9 Not only is this practice questionable as
there can be no objective judgment as to which features have a ‘greater moment’,
but Ellingford also failed to realize the significance of these passages in their
‘powerful contribution to the ensemble’, as Liszt put it.
Hermann Jimmerthal (1809-1886), long serving organist in Lübeck,
Germany, went even further than Ellingford: not only did he leave out numerous
‘fine’ details in his otherwise interesting organ arrangement of the Beethoven V/2
(see examples no. 1 and 2), but he even omitted an entire passage (mm. 200 - 223).
Herbert F. Ellingford, The Art of Transcribing for the Organ (New York: H. W. Gray Company, 1922),
175. Other examples can be found on pp. 85, 96.
9
11
Example no. 1: Beethoven V/2, mm. 105 – 109 (original)10
Example no. 2: Beethoven V/2, mm. 106 - 110 (arr. Jimmerthal)11
In the passage above, Jimmerthal made the following – rather substantial modifications:
-
The parts of the second violin, bassoon and clarinet are missing;
Ludwig van Beethoven, “Symphonie Nr. 5,” in Beethovens Werke. Serie 1, Nr. 5 (Leipzig: Breitkopf &
Härtel, 1862).
http://erato.uvt.nl/files/imglnks/usimg/0/0c/IMSLP52624-PMLP01586Beethoven_Werke_Breitkopf_Serie_1_No_5_Op_67.pdf (Accessed Oct. 26, 2012).
11 Ludwig van Beethoven, Andante aus der c moll Sinfonie, arr. for the Organ by Hermann Jimmerthal,
in Joachim Walter, “This Heaving Ocean of Tones.” Nineteenth-Century Organ Registration Practice at
St. Marien, Lübeck, Ph.D. Diss., Göteborg University, 2000.
10
12
-
The alternating sixteenth notes (played pizz.) of the violas and violoncellos
are transformed into chords in dotted quarter notes;
-
The double bass line – dotted quarter notes in the original – is changed into
sixteenth notes alternating with a sixteenth note rest, which is nowhere to be
found in the original.
Once again, much of the original composition is – literally – lost in the
arrangement. Naturally, the arranger is at liberty to proceed according to the
example set by Ellingford and/or Jimmerthal; personally, I did prefer to follow the
Lisztian guidelines and attempted to include almost every single part in my
Beethoven arrangement (see below).
Liszt continued
Liszt, like Lemare, also pointed out the importance of the qualities of the
instrument for a successful adaption of an orchestral score:
By the development in technique and mechanism which the piano has gained of
late, it is possible now to attain more and better results than have been
attained so far. With the immense development of its harmonic power the
piano seeks to appropriate more and more all orchestral compositions.12
It is interesting to observe that the most significant developments and
improvements in piano building - which occurred in the first part of the nineteenth
century - coincided with Liszt’s arrangements of Beethoven’s works. Similarly, the
peak of arrangements for organ (e.g., Lemare) happened about fifty years later - at
the beginning of the twentieth century - only after organ building had changed
significantly as well. Thanks to the manifold technical inventions and discoveries by
12
Franz Liszt, Preface.
13
major organ builders like Aristide Cavaillé-Coll (1811-1899) in France, Eberhard
Friedrich Walcker (1794-1872) in Germany, Henry Willis (1821-1901) in England
and Ernest M. Skinner (1866-1960) in the USA, the organ’s tonal palette and
technical possibilities had expanded considerably.
According to Liszt, the technical progress in instrument building, which
allowed for complex piano (and organ) arrangements, should benefit one goal: the
knowledge of the masters.
My aim has been attained if I stand on a level with the intelligent engraver, the
conscious translator, who comprehend the spirit of a work and thus contribute
to the knowledge of the great masters and to the formation of the sense of the
beautiful.13
Lemare and Liszt both believed that it was important to popularize
masterpieces and make them more accessible by arranging them for a keyboard
instrument. However, as mentioned, whereas Lemare emphasized that this would
be beneficial to the organ, Liszt pointed out repeatedly that arrangements would
benefit the original composition itself.
Once again, the circumstances of the music scene during their lifetimes can
explain the differences in their approach: whereas the piano already enjoyed an
immense popularity during Liszt’s lifetime, the organ had not yet been accepted as a
solo instrument of the same rank as the violin or piano at the beginning of the
twentieth century. Beethoven’s symphonies, on the other hand, were already well
established as the summit of orchestral compositions during Lemare’s lifetime, i.e.,
at the beginning of the twentieth century; they were not yet accessible in their
13
Ibid.
14
original form to everybody, but arrangements were no longer necessary to
understand and contribute to the knowledge of them.
III. Franz Liszt: Modifications to the Original Text in an Arrangement
When Liszt made his piano arrangements of Beethoven’s symphonies, he not
only attempted to include all of the ‘fine details of the orchestral score’, but
sometimes he would go even further and add notes or ‘interpret’ the existing ones. I
will analyze two examples from Beethoven V/2, in which Liszt altered the original
text in his piano version. Then I will present how I used similar means in my organ
version of the same piece and also offer an explanation as to why Liszt may have
made these changes.
In m. 78, the viola, violoncello and the double basses have the same repeated
thirty-second notes throughout the entire measure; in mm. 81ff, Violins I and II as
well as the violas play the same accompanimental figure in unison, the violas one
octave lower (example no. 3).
15
Example no. 3: Beethoven V/2, mm. 78 – 83 (original)14
Liszt made changes in both sections: In m. 78, the left hand begins one octave
higher than the violoncellos and double basses with an eighth-note chord, and goes
down one octave (to the original range of the cellos and basses) only on the second
beat; only at this point did Liszt begin the tremolo (e.g., the imitation of the repeated
notes of the strings; more about this change on pp. 36ff). In mm. 81 to 82, Liszt did
include the original part of the violins and the viola, but he also added more notes to
the thirty-second note figuration (example no. 4).
14
Beethoven, “Symphonie Nr. 5.”
16
Example no. 4: Beethoven V/2, mm. 75 – 82 (arr. Liszt)15
Neither one of these changes was necessary, so why did Liszt not stay closer
to Beethoven’s original text? In m. 78, I believe that Liszt attempted to include the
spirit of the passage rather than just the notes of the strings (and wind
instruments). For the sudden ff on the first beat of m. 78 (the previous measures
being pp), the chord in the left hand would help to reproduce the sudden change in
the character and orchestration (brass and timpani are added at this moment),
while the tremolo beginning only on beat 2 and one octave lower would expand the
range of the sound of the piano and build up the tension towards the climax in C
Major. By changing the notes, Liszt stayed closer to his conception of the orchestral
score.
Ludwig van Beethoven, Beethoven Symphonies Transcribed for Solo Piano, Vol.1 (Nos.1–5), arr. for
the piano by Franz Liszt (Mineola: Dover Publications), 1998.
http://conquest.imslp.info/files/imglnks/usimg/9/99/IMSLP01056-Beethoven-Liszt_Symphony5.pdf (Accessed Oct. 26, 2012).
15
17
In the case of mm. 81ff, Liszt could also be understood to interpret the spirit
rather than the letter of the score where he created a fuller orchestral sound on the
piano by ‘fleshing out’ the figuration of the violins. In the orchestra, the brass and
strings in different octaves sound much brighter and fuller than the same texture on
the piano (with its quickly disappearing sound). Therefore, the added notes would
help to recreate the majesty and splendor of the original version. Once again, Liszt
interpreted the spirit of the score rather than its letter.
In my organ arrangement, I included both of Liszt’s modifications – adapted
to the possibilities of the organ. In m. 78, it is the pedal (instead of the left hand) that
has the eighth note on the first beat and the subsequent descending octave leap. In
mm. 81ff, the left hand plays the ‘unison’ of the strings. By including a 16’ stop
(sounding one octave lower) or an octave coupler (adding the lower or higher
octave to anything played) in the registration at this particular moment, the organist
only needs to play the part of the violins (because the lower octave of the
registration will sound the part of the violas automatically) as well as the added
notes (example no. 5)
18
Example no. 5: Beethoven V/2, mm. 78 – 83 (arr. Korndoerfer)
One might argue that the sustained sound of the organ - contrary to the piano
– would make it unnecessary to add notes to the left hand in mm. 81ff. However,
these added notes are also desirable on the organ in order to balance the two
simultaneously played notes of the right hand (on loud reed stops). Admittedly,
adding more (high-pitched) stops like mixtures or 4’-couplers to the left hand would
make them louder too, but it would have the undesirable effect of unbalancing the
sound (the upper partials would easily dominate the fundamental note). Following
Liszt’s example, therefore, was the only viable solution.
19
IV. Lemare: Aspects of Organ Performance with Respect to Arrangements
According to the British scholar Dr. Henderson, Lemare was not like
many other arrangers, [who] merely attempted to make the tunes easily
accessible to amateur organists with little attempt to be faithful to the original
texture and timbres. […] Lemare was not just an arranger, [but] he attempted
to recreate the sounds and also the textures intended by the original orchestral
composers using the resources of the organ.16
Two features emerge as the basic guidelines of Lemare’s performance
philosophy:
-
Re-creation of the sounds and textures of the original score;
-
Usage of the resources of the organ.
Already at the age of nineteen, Lemare was famous for his skill in
registration17 (i.e., the selection of the different stops by the organist and one way of
bringing together the two above mentioned features of Lemare’s philosophy), and
the following quote shows how far Lemare took this “art of mixing his tonecolors”18:
A noted organist who sat with Mr. Lemare during a rehearsal of one of the big
Wagner transcriptions [by Lemare] counted 204 changes in registration during
the rendition. Some were made by hand, some by pistons over the manuals,
others by general pistons, and also by foot combination-pedals.19
In his The Art of Organ-Playing, Lemare provided the organ student with
numerous exercises on how to change stops and use the swell pedals with both
feet.20 In addition to these technical concerns, he also encouraged the organist to
John Henderson, “Edwin H. Lemare (1865-1934). A Reappraisal of a Legendary Name,” The Organ,
no. 347 (2009): 29f.
17 Ibid, 24.
18 Edwin H. Lemare, “The Art of Organ-Playing,” The Musical Educator (Caxton Publishing Company),
nd: V-XV. Quoted from Edwin H. Lemare, The Organ Music of Edwin H. Lemare, 8.
19 Lemare, Organs I have met, 105.
20 Lemare, "The Art of Organ-Playing," The Musical Educator (Caxton Publishing Company), nd: V-XV.
16
20
explore the emotional side of a composition, here with regards to Johann Sebastian
Bach’s Toccata in F Major:
Throw your whole heart and soul into the music, realize its grandeur, and do
not let the general effect suffer for fear of making a few slips in the Pedal Solo. I
would rather hear a performance full of technical slips, where the player’s
individuality and soul shone through it, than one of absolute flawless technique
and mechanical, soulless, and almost monotonous correctness.21
In summary, one can state that Lemare advocated the following style for a
convincing performance of organ arrangements of orchestral compositions (and in
general):
-
Creative registration to re-create orchestral effects (e.g., Vox Humana,
Celestes, Tremulant, “a soft Lieblich to give a little body” for harp effects;
“speaking of harp effects, I [Lemare] find that a soft Lieblich 16 feet,
combined with it, helps the illusion”;22
-
Contrast in tone color between solo and accompaniment;
-
Numerous stop and manual changes;23
-
Frequent usage of ‘modern’ devices such as thumb pistons and combination
pedals;
-
Expressive, individual performance rather than technical correctness.
I endeavored to adhere to Lemare’s guiding principles of organ arrangements
both in the making as well as in the performance of my own arrangement of
Lemare, “The Art of Organ-Playing.” Quoted from Edwin H. Lemare, The Organ Music of Edwin H.
Lemare, 10.
22 Ibid, 11.
23 The latter according to Wayne Leupold in Wayne Leupold, “Preface,” in Edwin H. Lemare, The
Organ Music of Edwin H. Lemare, 4.
21
21
Beethoven V/2. To give but a few examples, I used about 80 general pistons in my
recent performances of the Beethoven arrangement. As each piston in itself includes
multiple changes affecting different divisions, the couplers, etc. – all of which
Lemare would have had to do individually - I believe that this is easily comparable
to the 204 changes that were observed in Lemare’s performance of a Wagner
transcription.
Furthermore, I used the Voix Céleste and Gambe of the Swell division for mm.
38ff instead of a combination of foundation stops (example no. 6 and 7).
Example no. 6: Beethoven V/2, mm. 37-48 (original)24
24
Beethoven, “Symphonie Nr. 5.”
22
Example no. 7: Beethoven V/2, mm. 36-43 (arr. Korndoerfer)
Whereas it would be possible to play this passage simply on a selection of
foundation stops (which are usually employed to imitate strings on the organ), there
are two reasons why the Céleste is preferable in this situation:
-
The Céleste can imitate the vibrato of the strings;
-
The combination of Céleste and Gambe in the closed Swell box is extremely
soft and creates an ethereal effect that suits this passage perfectly.
Manual Changes and Double Pedal
In addition to frequently changing the registration and using the swell
pedals, Lemare would also use ‘double pedal’, i.e., playing with both feet at the same
time.
We can see examples of this in his arrangement of Richard Wagner’s
Siegfried: in example 8 (below), while the left foot holds a sustained E, the right foot
plays a different element; in example 9, the left foot once again has a sustained note,
whereas the right foot has repeated triplets in alternation with the left hand. By
playing two different elements in the pedal, Lemare could include a greater number
23
of different elements of the original score in his arrangements: without double
pedal, he might have had to sacrifice either one of these elements.
Example no. 8: Wagner, Siegfried Idyll (arr. Lemare)25
Example no. 9: Wagner, Siegfried Idyll (arr. Lemare)26
I employed the same technique in my Beethoven arrangement in several
passages. In mm. 105ff (examples no. 10 and 11), the left foot plays the part of the
double basses, whereas the right foot has a condensed version of the harmonic
accompaniment in sixteenth notes in the violas and violoncellos. The right hand
plays the first violins, and the left hand both the bassoon and the clarinets,
alternating between two different manuals.
Richard Wagner, “Siegfried: Siegfried Idyll,” arr. by Edwin H. Lemare, in Edwin H. Lemare, The
Organ Music of Edwin H. Lemare, 53.
26 Ibid, 63.
25
24
Example no. 10: Beethoven V/2, mm. 105 – 109 (original)27
Example no. 11: Beethoven V/2, mm. 105-110 (arr. Korndoerfer)
27
Beethoven, “Symphonie Nr. 5.”
25
Playing on Two Manuals with One Hand
The usage of double pedal considerably extends the possibilities of the
arranger, allowing him or her to have two different elements in the pedal. Both
elements, however, are necessarily played with the same stops, i.e., tone color, as it
is usually not possible to have different stops in different parts of the same
keyboard or pedalboard. Generally speaking, this limits the organist to having a
maximum of three different colors at the same time: one each for right hand, left
hand (if they play on different manuals) and pedal.
One way – frequently employed by Lemare - to add a fourth tone color,
consists in playing with one hand on two manuals at the same time. In the following
example (no. 12) from Wagner’s “Overture” to the Meistersinger, the left hand plays
the notes marked with a cross and beamed upwards on the second manual, while
the notes with the beam downwards are to be played on the third manual. Together
with the right hand (on the first manual) and the pedal, the organist is now able to
26
have four different tone colors and shades at the same time – which is much closer
to the orchestration of a Wagner Overture than having just one to three different
levels of sound.
Example no. 12: Wagner, Meistersinger (arr. Lemare)28
The application of this technique provided a very convincing solution for the
following passage from Beethoven V/2.
Richard Wagner, “Die Meistersinger von Nürnberg: Overture,” arr. by Edwin H. Lemare, in Edwin
H. Lemare, The Organ Music of Edwin H. Lemare, 16.
28
27
Example no. 13: Beethoven V/2, mm. 49-57 (original)29
This passage consists of four distinct elements: the variation of the main
theme in the violas and violoncellos, the bass line in the double basses, the pizzicati
in the first and second violins and the sustained notes in the clarinet. Obviously, the
pedal takes care of the double bass line, but what to do with the three other
elements? Technically, it would be possible to play the second violin and the viola
with one hand. However, this would result in doubling notes and obscuring the
original voice leading (mm. 52f), and – more importantly – the secondary element
(i.e., the pizzicati of the violins) being as loud or even louder than the main theme as
they would be played with the same registration. Playing clarinet and violin I on one
29
Beethoven, “Symphonie Nr. 5.”
28
manual with the right hand would be equally unsatisfactory, as one would
unavoidably have the same registration for the violin and the clarinet part.
Therefore, the only solution consists in playing the clarinet and violin I parts
with the right hand on two different manuals (example no. 14).
Example no. 14: Beethoven V/2, mm. 44 – 57 (arr. Korndoerfer)
29
V. Analysis of Arrangements by Ludwig van Beethoven
In this chapter, I will discuss two compositions that Ludwig van Beethoven
himself arranged for a different ensemble: the Concerto for Violin, Op. 61, arranged
as a Concerto for Piano, and the Second Symphony, Op. 36, arranged to Piano Trio
(Violin, Violoncello and Piano). In the violin concerto, Beethoven left the orchestral
part untouched, but as we will see, he took many – seemingly unnecessary or
avoidable - liberties when transferring the solo part from the violin to the piano. In
the case of the Second Symphony, he did not change the text (and included almost
the entire orchestral score in the trio version), but he freely reassigned the different
parts to the instruments of the trio, apparently without too much consideration for
his own orchestration; furthermore, he frequently adapted writing typical for one
instrument to another one (e.g., string passages to the keyboard).
Liberties in the Arrangement of the Violin Concerto for Piano
A comparison of the following excerpt (examples no. 15 and 16) from the
first movement of the Concerto for Violin in its original and arranged version
revealed several rather surprising modifications by the composer himself:
-
M. 415: The eighth-note triplets in the violin became sixteenth notes in the
piano part;
-
Mm. 421ff: The ascending scale over more than two octaves (a’ to d’’’’) has
been reduced to a scale of an eleventh in the piano version (a’ to d’’); in the
following two measures (mm. 423f), however, Beethoven added the higher
octave in the piano, having the second part of the theme in octaves;
30
-
M. 426: The figuration of the triplets has been changed from octave leaps to
thirds and fifths.
Example no. 15: Beethoven, Concerto for Violin (1st mvt.), mm. 415 – 428
(original)30
Example no. 16: Beethoven, Concerto for Violin (1st mvt.), mm. 414 – 426 (arr.
Beethoven)31
Whereas the last modification in m. 426 might be explained by the addition
of the left hand (as keeping the octaves would have resulted in the right and left
hand playing the same note one after another; however, this could have been
Ludwig van Beethoven. “Concert für die Violine. Op. 61.” In Beethovens Werke. Serie 4, Nr. 29
(Leipzig: Breitkopf und Härtel, 1862-90).
http://petrucci.mus.auth.gr/imglnks/usimg/0/0c/IMSLP55341-PMLP01796Beethoven_Violin_Concerto_Op61_Allegro.pdf (Accessed Oct. 26, 2012).
31 Ludwig van Beethoven, “Concert für das Pianoforte. Nach dem Violin-Concert Op. 61.” In
Beethovens Werke. Serie 9, Nr. 73 (Leipzig: Breitkopf und Härtel, 1862-90).
http://petrucci.mus.auth.gr/imglnks/usimg/c/c6/IMSLP55456-PMLP114616Beethoven_arr_Violin_Concerto_for_Piano_Op61a.pdf (Accessed Oct. 26, 2012).
30
31
avoided either by not adding the left hand or by adding it an octave lower), there is
no compelling reason why Beethoven made the other two changes.32 Throughout
the piece, he took similar liberties that would have been equally avoidable.
In my opinion, the composer seemed to have had at least two different ideas
for the same passage in many instances. The arrangement for piano allowed him to
write down an alternative version rather than a note for note arrangement of the
first version. Whether this is the case or not, there can be no doubt that Beethoven
did not hesitate to modify the original text for – most often – unknown reasons.
In my own arrangement of Beethoven’s Andante con moto, I did take some
liberties as well, even though they are much less noticeable and never on the same
scale as Beethoven’s.
The following variation from Beethoven V/2 is, in my opinion, one of the
most magical in the entire symphony: the theme is played in unison in triple octaves
by the flute, clarinet and bassoon, pianissimo and staccato, with a dotted rhythm
and in minor. The lower strings provide the accompaniment in a steady eighth note
pulse, while the first violin has an undulating figure in thirty-second notes. Finally,
the oboe comes in on every second beat, punctuating the ensemble with a single
sixteenth note (example no. 17).
The range of his piano cannot have been the reason why Beethoven did not keep the original violin
scale to the d’’’’ in the piano part, as we can find the high d’’’ in the opening passage of the soloist in
the piano arrangement, too.
32
32
Example no. 17: Beethoven V/2, mm. 167 – 171 (original)33
In order to recreate the magic of this passage on the organ, neither one of
these four different parts could possibly be sacrificed. My solution was to play the
two woodwind parts with the right hand on two manuals at the same time: the first
violin was given to the left hand and the rest of the strings to the pedal, with three
notes at a time in order to get as close to the original four-voice chords (example no.
18).
33
Beethoven, “Symphonie Nr. 5.”
33
Example no. 18: Beethoven V/2, mm. 165-170 (arr. Korndoerfer)
Naturally, it is impossible to play the triple octave unisons of flute, clarinet
and bassoon with one hand, while adding the sixteenth note of the hautbois with the
thumb on a lower manual. However, thanks to stops in various pitches, it is possible
to keep the triple octave by using a 16’ bassoon (sounding one octave lower) and 8’
and 4’ flutes (sounding as written and one octave higher).
34
While this will keep the triple octave, it will also move the entire theme one
octave up (the lowest note that can be heard in m. 167 is c flat’’ and not c flat’).
Moving the right hand one octave down is not possible without changing the pitch of
the hautbois, played with the thumb of the same hand on the lower manual. Given
the significant liberties that Beethoven himself took in his arrangements (also
concerning transposing parts one octave up or down), this modification seemed to
be justifiable.
Furthermore, thanks to the transposition of the main theme one octave up in
the organ arrangement, it is no longer in the same range as the rest of the parts but
clearly above them. Without having to be louder, this helps this most important part
to nonetheless stand out and sing above the other voices.
In other sections of my arrangement, I took similar liberties, for example by
omitting the 16’ stop (which provides the doubling into the lower octave that is
usually achieved by the double bass in an orchestral score) in double pedal parts.
Two notes played together on a 16’ stop in the lower part of the pedal keyboard
would produce a thick, heavy and unclear sound; whereas this would technically be
correct (if double basses are involved in the original), the resulting sound justifies
the liberty of omitting the lower octave in favor of a clearly audible and not ‘muddy’
bass line.
Adapting String Tremoli to Keyboard Instruments
One of the most common problems one faces when arranging an orchestral
score for a keyboard instrument is the tremolo (and in general, fast repeated notes)
of the strings (example no. 19). In his arrangement of the Second Symphony for
35
Piano Trio, Beethoven displayed a very pragmatic approach to this problem.
Whereas he had the tremoli of the second violins and the violas (mm. 110ff) played
by string instruments in the trio version as well, Beethoven modified the ascending
figure of the first violin (m. 110, ascending chord with repeated sixteenth notes) into
an arpeggio like figure on the piano (example no. 20) – a common feature in his
piano sonatas and in piano music in general.
36
Example no. 19: Beethoven, Second Symphony (1st mvt.), mm. 106 – 113 (original)34
Example no. 20: Beethoven, Second Symphony (1st mvt.), mm.107 – 112 (arr.
Beethoven)35
Beethoven, “Zweite Symphonie. Op. 36. D-Dur.” In Beethovens Werke (Leipzig: Breitkopf und
Härtel, 1862).
http://petrucci.mus.auth.gr/imglnks/usimg/f/fc/IMSLP52551-PMLP02580Beethoven_Werke_Breitkopf_Serie_1_No_2_Op_36.pdf (Accessed Oct. 26, 2012).
35 Beethoven, “Trio für Pianoforte, Violine und Violoncell nach der zweiten Symphonie. Op. 36.” In
Beethovens Werke (Leipzig: Breitkopf und Härtel. 1862-90).
http://conquest.imslp.info/files/imglnks/usimg/b/b5/IMSLP52532-PMLP02580Beethoven_Werke_Breitkopf_Serie_11_No_90_Op_36.pdf (Accessed Oct. 26, 2012).
34
37
Beethoven clearly differentiated between the instruments to which he would
transfer an element: if a motive of the strings was to be performed by a string
instrument in the arrangement as well, he left it unaltered; if it was performed by a
keyboard instrument, he would not hesitate to adapt it to the disposition of the new
instrument.
Following Beethoven’s example, I adapted the numerous string tremoli (i.e.,
repeated notes) in the Andante con moto into keyboard tremoli (i.e., alternating
notes or chords). The following excerpt (mm. 213ff, examples no. 21 and 22)
provides just one example of this procedure, which can be found on many occasions
throughout the movement.
38
Example no. 21: Beethoven V/2, mm. 209 – 216 (original)36
Example no. 22: Beethoven V/2, mm. 214ff (arr. Korndoerfer)
36
Beethoven, “Symphonie Nr. 5.”
39
Orchestration: Opposing Ensembles
The last – and maybe most surprising – liberty that Beethoven took in his
arrangement of the Second Symphony concerns his own orchestration. Instead of
assigning the string parts of the original to the two string instruments of the trio and
have the piano play the remaining parts, he frequently did the opposite: the piano
plays the strings, and the violin and violoncello are assigned the parts of wind
instruments. One striking example for this procedure can be found in mm. 34ff
(example no. 23): in the original, the wind instruments come in only in m. 37 with a
chord in whole notes, whereas the violins have a tremolo on the d (with a flourish in
sixteenth notes in the first violin in m. 37) and the lower strings an ascending
motive.
40
Example no. 23: Beethoven, Second Symphony (1st mvt.), mm. 33 – 38 (original)37
In the version for piano trio, the entire string section of mm. 34ff (repeated
notes, flourish of violin one and ascending motive) is assigned to the piano, the
violin and the violoncello (example no. 24).
37
Beethoven, “Zweite Symphonie. Op. 36. D-Dur.”
41
Example no. 24: Beethoven, Second Symphony (1st mvt.), mm. 34 – 37 (arr.
Beethoven)38
It would have been possible for Beethoven to stay much closer to the original
orchestration by doing the opposite: have the two string instruments play the
original parts of the strings, and the piano the wind instruments; another solution
would have been to have the violin play the part of the first violin of the orchestra,
the violoncello one wind instrument and the piano the remaining instruments.
In my opinion, Beethoven opted against either one of these solutions for two
reasons: first, he wanted instruments with a sustained sound for the cresc. on the
whole notes in m. 37 (which is impossible for the piano with its quickly decaying
sound) – ruling out the first alternative -, and second, he wanted to maintain
opposing ensembles for the contrast between the strings and the winds of the
original – which ruled out the second alternative.
The fact that ‘opposing ensembles’ are more important to Beethoven than his
own orchestration can also be ascertained from other examples, such as the
previously mentioned mm. 107ff (examples no. 19 and 20 above). Once again, in the
arrangement for trio, Beethoven has assigned the entire string section to the piano,
38
Beethoven, “Trio für Pianoforte, Violine und Violoncell nach der zweiten Symphonie. Op. 36.”
42
while the violin plays the flute (mm. 107ff) and the violoncello the bassoon (mm.
110f).
This principle inspired the registration of my Beethoven arrangement in
many instances, one being mm. 49ff (example no. 25 and 26).
Example no. 25: Beethoven V/2, mm. 49-57 (original)39
39
Beethoven, “Symphonie Nr. 5.”
43
Example no. 26: Beethoven V/2, mm. 44 – 57 (arr. Korndoerfer)
Instead of playing the part of the clarinet with a reed (which would be the
stop family closest to the sound of a clarinet), and using foundation stops for the
three other parts, I decided to completely reassign the colors (see the chart below)
in order to create opposing ensembles that would highlight each individual element
on the organ.
Table 1: Orchestration and Registration in mm. 49ff
Element
Long Sustained Notes
Pizzicati
Original
Clarinet
Violin I and II
Main Theme
Bass Line
Viola and Violoncello
Double Bass
Organ Arrangement
Flute
Oboe +
Soft Foundation Stops 8’
Foundation Stops 8’
Foundation Stops 16’ + 8’
The crisper attack and sound of the hautbois help to bring out the pizzicati of
the violins without overpowering the main theme in the left hand (foundation
stops). Whereas a reed stop would be perfectly appropriate for a clarinet solo line in
this range (see for example the Prélude, Fugue et Variation by César Franck), it
44
would most likely be too dominating in the case of the Andante con moto. The soft
and round sound of the flute allows the sustained notes to ‘hover’ above the other
voices without covering them or drawing too much attention to them.
VI. Conclusions
The analysis of arrangements and writings by Beethoven, Lemare and Liszt
provided a large amount of information into how to arrange orchestral
compositions for keyboard instruments in an artistically satisfying way. The
examples from my own arrangement are but one possibility of how to apply them,
and the reader is encouraged to apply them him- or herself.
However, one fundamental question remains: What is the usage of
performing organ arrangements of orchestral compositions like Wagner’s overtures
or of making new arrangements of Beethoven’s symphonies in today’s music scene?
Liszt justified his arrangements by asserting that they were necessary
contributions to the knowledge and dissemination of the great masterworks, and
Lemare pointed out the benefit of arrangements for the popularization of the organ.
Today, one can hardly claim that organ or piano arrangements of a repertoire as
famous and well known as Beethoven’s symphonies or Wagner’s overtures would
be necessary as numerous recordings are easily available and the original scores can
be found online (for free), etc. Therefore, Liszt’s argumentation can hardly justify
the performance and making of arrangements anymore.
45
However, Lemare’s point of view might still be valid, and it can be argued
that the performance of arrangements might still be advantageous for the organ in
several ways:
-
In order to adapt the orchestral score as convincingly and with as many
details as possible to the organ, one is sometimes forced to develop or
expand new techniques – unless one wants to sacrifice important details:
double and triple pedal (e.g., examples no. 11 and 17), playing on two
manuals with one hand, etc., are not yet part of the mainstream organ
repertoire and do present new challenges to performers;
-
A colorful registration is of paramount importance for the convincing
rendition of orchestral scores on the organ; in order to maintain the variety
of the original score on the organ, the performer has to be creative in
adapting it to the possibilities of the different instruments, forcing him or her
into an in-depth research of the art of registration;
-
More than one hundred years after Lemare’s statement, one can still question
whether the organ has obtained its rightful position among instruments; just
as in 1903, the making and performance of organ arrangements might be one
way to increase the public in organ concerts and improve the status of the
‘pope of instruments’.
In conclusion, one more quotation from Lemare - it clearly shows that
Lemare was aware of arrangements being a two-edged sword that could be both
46
beneficial and detrimental to his cause, depending on the quality of the arrangement
and the performance:
[A] noted critic stated that he had […] blessed the day when I was inspired to
arrange orchestral scores for the organ, [which gave] him a great thrill. But
one day being obliged to review a recital given on a comparatively small organ
by an organist of ordinary attainments […], he felt like cursing the day when I
made possible the playing of orchestral scores on the organ… [The Journalist]
continues, ‘The Ride of the Valkyries, on an organ with the necessary
orchestral coloring and given the proper rendition was one thing, but that
same number on an organ inadequate in every way, and played as the general
run of church organists would render it, was quite another story, and I left the
church with murderous thoughts on my mind […].
I further contend that unless an organist has the right conception of an
orchestral score, it is fatal […] for him to attempt to render orchestral scores on
the organ.40
40
Lemare, Organs I have met, 82f.
47
VII. Appendix I: Ludwig van Beethoven’s Andante con moto (Fifth
Symphony) arranged for the Organ by Jens Korndoerfer
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
VIII. Appendix II: Ludwig van Beethoven’s Andante con moto (Fifth
Symphony) arranged for the Organ by Julius André41
Ludwig van Beethoven, “Andante con moto,” from the Fifth Symphony, arr. for the organ by Julius
André, (Offenbach: Johann André, n.d.),
(Boston: Arthur P. Schmidt.. Mineola: Dover Publications,
1998).
http://erato.uvt.nl/files/imglnks/usimg/a/af/IMSLP90497-PMLP01586-8_Book3Book_3.pdf
(Accessed Oct. 26, 2012).
41
70
71
IX. Appendix III: Bibliography
Music
Beethoven, Ludwig van. “Andante con moto.” From the Fifth Symphony. Arr. for the
Organ by André, Julius. Original Publication in Offenbach: André, Johann.
N.d..
Republished in Boston: Arthur P. Schmidt.. Mineola: Dover
Publications, 1998.
http://erato.uvt.nl/files/imglnks/usimg/a/af/IMSLP90497-PMLP015868_Book3Book_3.pdf . Accessed Oct. 26, 2012.
—. Andante aus der c moll Sinfonie. Arr. for the Organ by Jimmerthal, Hermann. In
Walter, Joachim. “This Heaving Ocean of Tones.” Nineteenth-Century Organ
Registration Practice at St. Marien, Lübeck. Ph.D. Dissertation. Göteborg
University. 2000.
—. “Concert für die Violine. Op. 61.” In Beethovens Werke. Serie 4, Nr. 29. Leipzig:
Breitkopf und Härtel, 1862-90.
http://petrucci.mus.auth.gr/imglnks/usimg/0/0c/IMSLP55341PMLP01796-Beethoven_Violin_Concerto_Op61_Allegro.pdf . Accessed Oct. 26,
2012.
—. “Concert für das Pianoforte. Nach dem Violin-Concert Op. 61.” In Beethovens
Werke. Serie 9, Nr. 73. Leipzig: Breitkopf und Härtel, 1862-90.
http://petrucci.mus.auth.gr/imglnks/usimg/c/c6/IMSLP55456PMLP114616-Beethoven_arr_Violin_Concerto_for_Piano_Op61a.pdf .
Accessed Oct. 26, 2012.
—. “Zweite Symphonie. Op. 36. D-Dur.” In Beethovens Werke. Leipzig: Breitkopf und
Härtel, 1862.
http://petrucci.mus.auth.gr/imglnks/usimg/f/fc/IMSLP52551-PMLP02580Beethoven_Werke_Breitkopf_Serie_1_No_2_Op_36.pdf . Accessed Oct. 26,
2012.
—. “Trio für Pianoforte, Violine und Violoncell nach der zweiten Symphonie. Op.
36.” In Beethovens Werke. Leipzig: Breitkopf und Härtel. 1862-90.
http://conquest.imslp.info/files/imglnks/usimg/b/b5/IMSLP52532PMLP02580-Beethoven_Werke_Breitkopf_Serie_11_No_90_Op_36.pdf .
Accessed Oct. 26, 2012.
—. “Symphonie Nr. 5.” In Beethovens Werke. Serie 1, Nr. 5. Leipzig: Breitkopf &
Härtel, 1862.
http://erato.uvt.nl/files/imglnks/usimg/0/0c/IMSLP52624-PMLP01586Beethoven_Werke_Breitkopf_Serie_1_No_5_Op_67.pdf . Accessed Oct. 26,
2012.
—. Beethoven Symphonies Transcribed for Solo Piano, Vol.1 (Nos.1–5). Arr. Franz
72
Liszt. Mineola: Dover Publications, 1998.
http://conquest.imslp.info/files/imglnks/usimg/9/99/IMSLP01056Beethoven-Liszt_Symphony-5.pdf . Accessed Oct. 26, 2012.
Lemare, Edwin H. The Organ Music of Edwin H. Lemare. Series II (Transcriptions). Vol.
IV. Boston: Wayne Leupold, 1992.
Books and Articles
d'Indy, Vincent. César Franck. Paris: F. Alcan, 1906.
Ellingford, Herbert F. The Art of Transcribing for the Organ. New York: H. W. Gray
Company, 1922.
Henderson, John. “Edwin H. Lemare (1865-1934). A Reappraisal of a Legendary
Name.” The Organ, no. 347 (2009): 24-30.
Lemare, Edwin H. Organs I have met. Los Angeles: The Schoolcraft Company, 1956.
Lemare, Edwin H. “The Art of Organ-Playing.” The Musical Educator (Caxton
Publishing Company), nd: V-XV.
Leupold, Wayne. “Preface.” In Lemare, Edwin H.. The Organ Music of Edwin H.
Lemare. Series II (Transcriptions). Vol. IV. Boston: Wayne Leupold, 1992.
Liszt, Franz. Preface. In Beethoven, Ludwig van. Symphonies (arr. for the piano by
Franz Liszt). Vol. II.Melville, NY: Kalmus, 198-?.
73