Four Hand Piano Transcription
Piano transcription is an often overlooked aspect of music education. After all, it can take years to learn a four hand piano piece. But, once done, it offers the pianist a unique perspective on their playing. This is because it allows the pianist to see how their own performance has been affected by the arrangement. It also allows the pianist to understand how a musical work has been interpreted by others.
The rise of the middle class in Europe during the 17th century resulted in a demand for entertainment outside that offered at noble courts or in church. The first keyboard instrument to answer this need was the harpsichord, but the newfound popularity of the piano soon saw its use for not just solo and chamber music, but also orchestral works. Consequently, many composers began to arrange their larger symphonies for this medium and even composed music specifically for piano four hands.
Piano arrangements were enormously popular in the nineteenth century, when it was difficult for most music lovers to attend symphony concerts on a regular basis. It was through these arrangements that many people came to know the music of Bruckner, for example. Besides, amateur musicians enjoyed playing these arrangements to familiarise themselves with unfamiliar works and to play their favourite pieces again after attending a concert.
The Importance of Four Hand Piano Transcription
The synchronization of the left and right hands, especially the middle fingers of both hands, is one of the most challenging aspects of this type of music. The problem is particularly evident in the passages that require both hands to move simultaneously. For instance, in the third movement of Mozart’s Piano Sonata No. 20 for two pianos, there are several such passages. The middle finger of the right hand must be positioned in a different position on the key board for each occurrence of such a motion.
Similarly, there are other movements that require the middle fingers of both hands to be placed in positions not used during normal playing. In such cases, the middle fingers must be moved back and forth over the keyboard in order to maintain a continuous, coordinated motion.
In such a situation, the pianist is forced to change their habitual way of playing and think differently on the spot. The solution to these problems lies in a thorough familiarisation with the score and practice.
A detailed study of these types of pieces is therefore a valuable educational tool for the student of piano. It will allow them to become more sensitive to the complexities of these types of compositions. Moreover, it will help them to appreciate and understand the great work of the composers of four-hand piano music and how they successfully managed to combine the contrasting elements that characterize this genre. Cecilia Oinas is a Finnish music scholar, music theory lecturer and classical pianist. She has studied at the Sibelius Academy in Helsinki (DocMus). She is interested in how analysis and performance interact. Her doctoral thesis examined the Mendelssohn and Schumann piano trios.
