Another site (Friends of Radio 3) has commented that when it comes to programming music I have a noticeable penchant for arrangements. And it’s true, Carmen as reinvented by Vladimir Horowitz, Franz Waxman or Sarasate; Liszt taking on Don Juan (and countless other operas); Schubert arranged by Berio, Mottl or Koechlin (Wanderer Fantasy); Art Tatum’s Massenet or Dvorák, or Stan Kenton deconstructing Wagner (of which a New York Times critic apparently wrote ‘now I know what Wagner lacks …. bongos!), all have a strong appeal. Last night between 7 and 9 on Cowan’s Classics at classicfm.com I played Bach orchestrated by Percy Grainger, Mussorgsky arranged by Shostakovich not to mention Beethoven’s Second Symphony re-thought as a piano solo by Liszt and a great new recording of Stravinsky’s Rite of Spring ballet played on two pianos (and sounding uncannily like Bernstein). All this can be accessed via CFM’s Listen Again facility. Just so that you know, to access the programme on the CFM website click ‘Listen’ in the top right hand corner which opens a new window; after the advert, you’re then clicking onto ‘Listen Again’ which brings up an alphabetised list; and you can see Cowan’s Classics with Rob Cowan And, yes, I’ve more arrangements planned for Saturday nights on CFM, that’s for sure.
On a similar subject I think of poetry in translation, especially the wonderful ancient Chinese T’ang Dynasty (618-907) poems as reinvented by Arthur Waley or Ezra Pound (in Cathay), or as magnificently set to music – in German – by Mahler. What they provide us with is in effect another set of poems, something entirely new, rather than translations in any literal sense. Stephen Mitchell’s Rilke offers numerous other excellent examples of how those ‘without the [relevant] language’ can experience the hub of a poem’s meaning as transmitted and transformed by another sensitive poet. Both issues I think are well worth discussing.