Oxford University Press's
Academic Insights for the Thinking World
Art has always been transformed from one form to another: books to films, plays to operas, even music to novels—Beethoven’s Eroica and Anthony Burgess’s Napoleon Symphony, for example. Within music, composers have been equally ready to adapt and modify.
In England, we have the expression ‘Carrying coals to Newcastle’ – a pointless action, since the place in question already has a bountiful supply. In Spain, they take oranges to Valencia and in Portugal, honey to a bee-keeper. If not quite as plentiful as oranges or honey, publishers’ lists are filled with beginner violin repertoire – what possible motivation could there be to write and publish more?
If composers and arrangers have long reworked the music of Johann Sebastian Bach, they have followed the lead of none other than the composer himself, for Bach was an inveterate transcriber of his own music and the music of others. For solo organ Bach transcribed Vivaldi’s Concerto for two violins Op. 3 No. 8, while his G major Concerto BWV 592 acknowledged the musical efforts of Prince Johann Ernst, nephew of his employer at Weimar, discreetly tidying and improving details in the process. Bach’s great Mass in B minor is a compilation of his earlier compositions, while the exuberant opening sinfonia of Cantata No. 29 is an expansion of the Prelude from his E major Partita for solo violin.
‘I write arrangements, I’m sort of a wannabe composer’ – consciously or otherwise, these words from violinist Joshua Bell seem to give voice to the tension between these two interlocking musical activities. For arrangement and composition are interlocked, as composers throughout the ages have arranged, adapted, revised, and generally played free with musical compositions of all kinds (their own and other people’s) for reasons artistic, practical, or downright commercial.