Re: GG: Wagner transcription

[Bradley P Lehman <bpl@umich.edu>]

If someone has never heard or seen the original Wagner pieces, but does an
orchestration from GG's piano versions, how close would the results be to
the originals?

Just for fun: here is how the AltaVista automatic translator translates
the Aunt Sadie paragraph from English to another language and back to
English.  Part of the resulting problem is caused by GG's use of informal
conversational English, and the translation routines don't always catch
the idiomatic meanings. 

Original:

> Well, I came to feel that in the Liszt transcriptions,
> he was too faithful to the score for his own good.
> You know, in an orchestral work, you can put in all sorts of
> octave doublings, for example, and according to the diverse 
> impulses of the instruments involved, you will have a
> rich and glamorous texture.  Do the same thing on the piano,
> even within the options available to ten fingers and,
> although you may get marks for authenticity, what you end up
> with is mud, glorious mud.  Liszt, of course, is much more
> puritanical than I am in a funny sort of way.  He tends to solve
> these problems by left hand tremolandos--or even worse, 
> right hand tremolandos--which, to me, always sound like the
> worst excesses of Aunt Sadie at the parlor upright--

English-French-English:

Well, I came to estimate that in the transcriptions of Liszt, it was too
faithful to the points for its own good.  You know each other, in an
orchestral work, can put in all the sorting of the doublings of octave,
for example, and according to various impulses' of the implied
instruments, you will have a rich and attractive texture.  Make the same
thing on the piano, even in the options available to ten fingers and,
although you can obtain marks for the authenticity, with what you finish
to the top is mud, glorious mud.  Liszt, naturally, is much puritanical
that I am in a funny sorting of way.  It tends to solve these problems by
the tremolandos of left hand of the tremolandos -- or even worse, right --
which, with me, always noise like the worst excess of aunt Sadie to the
amount of show --

English-German-English: 

Well I came to believe that in the transfers Liszt was too reliable, he to
the notch for its own good.  They know, in one orchestral work, you can
into all assortments of Oktavedoublings set, e.g., and according to the
different drives of the instruments concerned, you have a rich and
bezaubernde condition.  Terminate also, do the same thing on the piano,
that within that are evenly options, those for 10 available are fingers
and, although you can receive markings for authenticity, which above you
is mud, splendourful mud.  Liszt is naturally much puritanical, when I am
in a merry assortment of the way.  It bends to solve these problems by
left Handtremolandos -- or even false, right tremolandos -- those, to me,
always tone like the falschsten abundance of the aunt Sadie at the living
room wohnzimmersenkrechte --

English-Italian-English: 

Well, they have come to think that in the transcriptions of Liszt, he was
too much faithful to the sign for just good its.  You know them, in a job
orchestral, can put in all the orderings of the doublings of eighth, as an
example and second the impulses several of the instruments to be involved,
you will have one rich structure and glamorous.  To make the same thing on
the plan, also to the inside of the options available to ten barrette and,
even if you can obtain the marks for the authenticity, than what you
conclude yourselves in on with is the mud, mud glorious.  Liszt,
naturally, is much more puritanical than they are in an amusing ordering
of the way.  It stretches to resolve these problems from the tremolandos
of the left hand -- or even tremolandos defective and rights -- than, to
me, always sound like the excesses defective than aunt Sadie to mounting
of the hall --

English-Spanish-English: 

Well, I came to feel that in the transcriptions of Liszt, it was too
faithful to the own account for his good one.  You know him, in a
orchestral work, can put in all the classes of doublings of eighth, for
example, and according to the diverse impulses of the implied instruments,
you will have a rich and charming texture.  Make the same thing in the
piano, uniform within the options available for ten fingers and, although
you can obtain the marks for the authenticity, with what you finish for
above is the mud, glorious mud.  Liszt, of course, is much more
puritanical that I am in an amused class of way.  It tends to solve these
problems by the tremolandos of the left hand -- or still the worse, right
tremolandos -- than, to me, always sound like the worse excesses of Sadie
aunt in the post of the room --

English-Portuguese-English:

Well, I came to feel that in the transcriptions of Liszt, he was too much
faithful to the proper tally for its good one.  You know it, in a
orchestral work, can put in all the luck of doublings of octave, for the
example, and in accordance with the diverse impulses of the involved
instruments, you will have a rich texture and glamorous.  It makes the
same thing in the piano, uniform inside of the available options the ten
fingers and, even so you it can start marks for authenticity, what you
finish above with you are the mud, mud glorious.  Liszt, of course, is
much more puritanical of that I am in a funny luck in the way.  It tends
to decide these problems for the tremolandos left-hand -- or for same
worse, right tremolandos of the hand -- that, me, always sound as the
worst excesses of the aunt Sadie in the upright of the room to be --

Bradley Lehman ~ Harrisonburg VA, USA ~ 38.45716N+78.94565W
bpl@umich.edu ~ http://www-personal.umich.edu/~bpl/ 

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