MOZART: FANTASY ON GUITAR - DENNIS KOSTER

Mozart FANTASY ON GUITAR liner notes

In terms of its acceptance and popularity, transcription - the practice of transplanting' a musical composition from its original instrumentation to a new instrument or ensemble-- has had a rather checkered history throughout the ages of music. Johann Sebastian Bach apparently loved hearing the same composition played on different instruments. Often he would make different versions of the same piece for instruments as diverse as violin, lute and organ (accompanied by timpani and trumpets!). For his own pleasure he freely transcribed Vivaldi orchestral concertos to solo organ. In the letter to his publisher quoted above, Beethoven's ire is almost certainly directed against crassly abridged and over-simplified versions of piano works, orchestral pieces and opera arias which were very popular with musical amateurs - and very prof itable for music publishers - at the turn of the 19th century. Actually, Beethoven himself succumbed to this 'unnatural fury' on many an occasion. He transcribed his Piano Sonata, Op. 14 No. 1 for string quartet ('instruments so entirely opposed to each other') and composed a version of the Minuette from Op. 49 No. 2 (played on this recording) for violin, viola, cello, double bass, clarinet, horn and bassoon(!).