emeraldvalley wrote:Though we are used to the gtr version, i question the integrity of transcribing a composer’s score with altered notes, its anothwr matter to adjust octaves and omit full harmonies , which are often necessary for limitation of guitar position range
A piece like this cannot really be "transcribed" for guitar due to the instrument's limitations - instead it has to be arranged
. We rely on the skill of the editor to produce a work which is true to the original spirit and artistic intent of the author whilst exploiting the idiomatic possibilities of the guitar ... and there we face an inevitable dichotomy - literal replication versus artistic expression - the conciliation of which often involves several, even many, changes from the original.
Where does one draw the line? There are probably as many answers as there are editors. Even something as simple as a change of key or octave can have a significant effect on the character of a work (think of the Bach cello suites for instance).
The bottom line is - if you are uncomfortable with certain elements of an existing arrangement you are at liberty to change them yourself - I have done so in certain places in the "Serenata" - it satisfies my desire to get closer to the original, audiences enjoy it (I believe) and no one has ever commented negatively on the differences. I surmise that 95% of them have never even heard the piano version and that most never will.
On one occasion David Russell heard my arrangement - he spotted the changes (as you would expect) and afterwards quizzed me about them. Whilst fully recognising my reasoning he said that he preferred to stick with the Tárrega version that everyone knows, even though it deviates significantly from Malats published score. Why? Well, I'm paraphrasing as it was a while ago but basically, when he plays it, he's representing the art of Tárrega at least as much as Malats, with all the attendant guitaristic mannerisms of the period.
So we make choices. If I am presenting a concert of mostly piano transcriptions: Albéniz, Astort, Granados, Malats etc. I will attempt (as far as the guitar will allow) to remain true to the intentions of those composers. If, on the other hand, the repertoire includes a number of Tárrega's works I will probably defer to his arrangement of the Malats in the manner of Mr. Russell (and many others of course).
emeraldvalley wrote:Please let me know if i am correct or not, i agree that the guitar version sounds appropriate, but when playing this piece on gtr for a pianist who knows the score, its does not seem appropriate?
I believe that it's a mistake to try and out-think your audience - be true to your own interpretation and play with conviction and integrity. By all means introduce a work as an arrangement but don't fall into making even a slight apology for what can't be replicated - instead focus on how the guitar can enhance interpretation through such devices as timbral variation, idiomatic articulations like ligado and glissandi, vibrato etc., etc.