The transcription has found a unique place for itself in the
history of music. Some of the first pieces for the piano (and
indeed some of the most often played) were in fact not written for
the piano originally yet have become very closely associated with
it nonetheless. It is unusual to find the word 'transcription' in
the piano repertoire with the cord "concert" attached to it in some
way. This implies not only that the piece is to be played in the
public area but also that aspects of virtuosity, showmenship and
excitement are not far away. These are all strong elements of the
pieces to be featured in this book. Both Horowitz and Busoni were
undoubtedly showman despite the deep musical qualities which each
of them possessed - and this is apparent in these transcriptions of
Bizet's music. However, their ability on the piano was not limited
to playing fast. Perhaps the greatest wonder of these works is the
way in which the orchestral colours have been absorbed into the
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