Four-hand piano transcriptions and the reception of symphonic repertoire in nineteenth-century Europe

In the nineteenth century, listening to a symphony was a rare and precious treat. Few could afford to attend the symphony regularly, and even those who could would be lucky to hear a favourite work once every few years. There was, however, one way for nineteenth-century music lovers to hear their favourite symphonies anytime on demand: by playing arrangements. Arrangements of symphonies, particularly those for piano four-hands, were phenomenally popular. Amateur musicians would play through arrangements before a concert to familiarise themselves with unknown works and after to re-experience the music they enjoyed. In the twentieth century, recordings took over this function. Today, it is not the sonic magnificence of the orchestra that is rare and preciousit is the act of music-making. This paper examines the roles that four-hand piano transcriptions played in the reception of symphonic repertoire during the nineteenth century and, by way of conclusion, suggests some pedagogical applications of the findings. The history of four-hand piano transcriptions demonstrates the crucial role that active participation in music-making plays in the understanding and enjoyment of symphonic repertoire