O p e ra Tra n s c ri p t i ons by Yvar Mikhashoff (unless indica te d ) first began to make opera transcriptions in piano. Often the most interesting material is 1991. The inspiration to delve so deeply found in the lesser known parts of the opera; Iinto this medium came from a necessity. excerpts with a wide dynamic range are more John Cage had written his Europera 5 for me in suitable; cadenzas must be rewritten and the spr ing of that year (world pre m i e re, Buffalo, “pianisified”. Verses that are repeated are either New York on 12 April, 1991 – released on omitted or interestingly varied with each repe- mode 36), and in that work I was required to tition. In a paraphrase or fantasy containing play six operatic excerpts, three nearly unheard many sections, the operatic order need not be (“shadow played”) and three completely heard. respected — the pieces should be connected to Time frames were given, and though I could one another with dramatic purpose. Above all, find a few examples of transcriptions that met use the full range of the piano — expand the the short time requirement (most of Liszt’s range of the piece to both the top and the bot- opera transcriptions are too long) I had even tom of the keyboard. greater difficulty with the excerpt which could be twelve minutes or so, but had to be quiet Now, on to the individual works: from about the sixth minute onward. Liszt and Trittico Fantasy is a one movement work others did not favor the meditative conclusion which begins with a set of short reminiscences when it came to opera transcriptions. And so, from Il Tabarro — barcarolle-music, the song of drawing on my background as an opera and the stevedores, the barrel-organ waltz, and lieder coach in Austria for many summers, I transitional music to the night passage of the decided to begin experiments with those arias two young lovers. The sound of a distant trum- I knew so well. pet in a far-off barracks is used as a transition to I discovered many interesting processes a setting of the aria from Suor Angelica entitled during my investigations: some of the most “Senza Mamma,” where she sings of her inex- famous arias do not lend themselves to tran- pressible grief at the loss (or presumed loss) of scription because of the piano’s lack of sustain- her son, and her promise to herself to see him ing power. The aria, or scene, should have an once again in heaven. The overwhelming interesting, or at the very least regular, accom- pathos of this aria reflects her decision to take paniment to support the vocal line on the her own life. A recurrence of the symbolic trumpet call leads us into another aria setting: This is followed by a setting of the final duet — a line which reoccurs at the coda to create a Golaud’s murder of Pelléas which concludes the beloved “O mio babbino caro” from the between Gilda and her father as she dies. A new and more conciliatory conclusion. the act. The rest of the music is from the con- third opera Gianni Schicchi. Here, the young transition leads into the famous Act II aria, Caro Portrait of Madame Butterfly follows the clusion of the opera's fifth act. Arkel, grandfa- and beautiful Lauretta begs her father (her Nome, where Gilda sings of her joy in having Lisztian tradition of the concert fantasy of remi- ther of Golaud and Pelléas, meditates on “babbino”) to allow her to marry the young met Gualtier Maldè, actually the Duke. The niscence. I would say that Liszt distinguished Mélisande’s death. These final pages are some handsome aristocrat she loves. I have chosen virtuosity of the vocal writing has been trans- between operatic transcriptions that were of the most touching Debussy ever composed the paraphrase, or “wedding cake” mode for ferred to the piano: each vocal cadenza trans- “Fantasies”, “Reminiscences”, “Paraphrases” and Mikhashoff has confined his reworking to this setting. Each verse is elaborated differently mogrified into florid, utterly pianistic fioriture, or just literal transcriptions — these four names some delicate touches of decorative arpeggia- with Godowsky-inspired coruscations encrust- so that the level of virtuosity is preserved. represent four levels of elaboration of material tion and voicing. (Nils Vigeland) ing the bittersweet melody. Who could believe I have also devised two other transitional pas- from the most transformed and wide-ranging, Wirtshauswalzer (The Tavern Garden that this master aria was not part of the original sages which would enable the pianist to insert embracing many different parts of the opera, to Waltz) from Wozzeck, is the music played by manuscript, but a later addition — an exquisite this entire episode into Liszt’s Rigoletto a simple, single excerpt which follows the orig- a small off-stage band of two violins, clarinet, afterthought? Paraphrase, creating a Verdi-Liszt-Mikhashoff inal music quite exactly, with little or no addi- accordion, guitar and bombardon accompany- Casta Diva is the name given to the first Rigoletto Concert Fantasy — but that’s for a tional material. In this work, I begin with the ing the on-stage action in the beer garden. The aria sung by the priestess Norma as she prays future recording! opening orchestral prelude from Act III (V) waltz style is purely German, prototypical, but to Diana, the “chaste goddess” of the title. I Vissi d’Arte is one of the most celebrated with suggestions of the love duet from Act I, the harmonies are pure Berg. The music occurs have used the fanfare-like chordal introduction arias of all Italian opera. It occurs in the second followed by a very elaborate scherzo based on in the background of the second act at three as a prelude and kept the usual modulations act of Puccini’s Tosca. The soprano Floria the Flower Duet from Act II, then a transition, a dif f e r ent points. I have combined them toget h e r t hat begin the ar ia. I have varied the ar ia gre a t l y Tosca, horrified at the prospect of having to nocturne, into the humming chorus, and as a to make a simple waltz-form, even to including in the style of Chopin. As a matter of fact, the give herself to the evil Scarpia in order to save finale, that famous last suicidal scene from the the tuning-up music as an introduction. A simple classical accompaniment has also been her lover’s life, sings this aria reflecting on her opera, onward to the very last notes of the piano version seems not inappropriate, as Berg altered throughout to the Chopin style. My life (“I lived for art...”), her career as a singer score. Throughout I have strived to preserve composed at the piano, and even did the piano rather arcane reasoning was that Chopin and and her crushing dismay with her situation. the high drama of the work in a very elaborate reduction of Schreker’s Der Ferne Klang. The Bellini were close friends, and the opera was As with all of Puccini’s music, the piano is a rewriting demanding the highest degree of extremely pianistic result seems to confirm the written at exactly the same time as Chopin’s perfect alternate medium; almost nothing is virtuosity. fact that Berg was undoubtedly a very good first Nocturnes! Don’t you think they might altered — the vocal and instrumental parts Mikhashoff entitles his Pelléas et pianist. have played to each other? combine beautifully. There is only expansion Mélisande transcription Intermezzo and Final S y l v ano Bussotti wrote his opera Le Racine Introduction and Aria: Caro Nome is on the two glistening high notes, which need Scene. The first impassioned section is largely in the period 197 8 - 1980 and the world pre m i e re a small fantasy-portrait of Gilda, the ill-fated pianistic virtuosity to sustain the magnificent drawn from the orchestral interlude which sep- was at La Piccola Scala in Milan on December heroine of Verdi’s Rigoletto. The opening line. There is, however, a nearly occulted arates the second and third scenes of Act IV, 9, 1980. As the opera is set in a piano bar/ recitative is a line sung by Rigoletto from Act I. “baritone” line, composed for this transcription the dramatic tension of which portends nightclub, the only instrumental music is solo piano; there is no pit, there is no orchestra. The hand to the dying Phaedra; Monsieur Fred re- America, and Europe. pianist is on stage throughout, in outrageous mains devoted to the cruel, friendless heroine Mr. Mikhashoff studied at the Eastman and costume, as the depraved Monsieur Fred. to the very end. Juilliard Schools and the University of Houston, Naturally, the piano part, three hours in length, Striding Dance is the title which compose r and received his Doctorate in Composition is a tour de force, either playing alone or ac- Kevin Volans gave to this work after I had from the University of Texas in 1972. He was companying the singers. The role was created completed the transcription, under his direct Professor of Music at the University at Buffalo for me, and I was fortunate to be able to stay in supervision, during his stay at my home in June from 1973 until his death, Associate Milan for the six weeks of rehearsal and work of 1992. It was a ferocious challenge; the Director of the Almeida Festival in with Bussotti as director/composer as well as polyrhythms almost defy the pianist. The need L o n don, Art ist ic Advis o r to the Music the cast of four singers and six mimes. From for articulated durations, and above all color Factory in Bergen, Norway, and the vast score I have combined voices and distinctions conspire to create a work of as- Co- founder/Artistic Director of the piano into a seven movement suite, Pianobar tounding, understated virtuosity. This music North American New Music Festival. pour Phèdre, and for this recording I have se- occurs at the end of Act II in the opera The Composers who wrote for him included lected the third, fifth and seventh movements. Man with the Foot Soles of Wind. The opera John Cage, Lukas Foss, Christian Wolff, The “Romanza a Sol” is sung by Phaedra (a concerns itself with the last days of Arthur Henry Brant, Sylvano Bussotti, Per Nørgaard, retired actress, now owner of the “Le Racine” Rimbaud in Africa, and then his return and Luis de Pablo, and Conlon Nancarrow. Over pianobar) as she makes one of her nightly death in France. In this scene, Rimbaud and his one hundred composers wrote three-minute entrances into the club dressed as Racine’s friend Djan ni are wan de r ing through the de se rt . tangos for his International Tango Collection. Phèdre, her greatest triumph when she was an The Austrian government awarded him the actress. The “Passo” is a slow sarabande-like Yvar Mikhashoff (1941-1993) Arbeiterkammerpreis in 1989. He also received transition in the third act, when Phaedra takes nternationally known both as an interpreter Fulbright scholarships for study in Denmark poison offered by the ghost of the stepson with of 20th century piano works and as a per- and Argentina. whom she was infatuated and later had mur- Iformer/curator of American music, Yvar Mr. Mikhashoff was very active as a dered. “La Morte di Fedra” is the conclusion of Mikhashoff performed at many of the world’s re c o rding art ist, with rele a ses on the Nonesuch, the opera; the lines are those by Racine spoken leading music festivals, including the Warsaw CRI, Mode, Spectrum, Paula, EMI, and New by Phèdre as she dies. (Indeed, the entire text Autumn Festival, Zagreb Biennale, Holland Albion labels. He recorded for every major of the opera, in French, is excerpted from Festival, Ars Musica/Brussels, Numus Festival/ broadcast center in Europe as well as for Radio Racine’s Phèdre, with no alteration whatever). Denmark, Huddersfield Festival/England, Hong Kong and NHK/Tokyo. This last aria is the end of the opera, and the Music Nova/Brazil, and Pan Music Festival/ pianist plays the last measures with his left Korea. He also appeared as piano soloist with A page from the “Trittico Fantasy” hand alone as he reaches out with his right major orchestras in the United States, South