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Ingls
ARRANGEMENT or ADAPTATION, is the musical counterpart of literary
translation. Voices or instruments are as languages by which the thoughs or
emotions of composers are made know to the world; and the object of
arrangement is to make that wich was written in the musical language
intelligible in another.
The functions of the arragner and translator are similar; for instruments,
like languages, are characterized by peculiar idioms and special aptitudes and
deficiancies wich call for critical ability and knowledge of corresponding modes
of expression. In dealing with them. But more than all, the most indispensable
quality to both is a capacity to understand the work they have to deal with. For it
is not enough top ut note for note or word for word or even to find corresponding
idioms. The meanings and valuers of words and notes are variable with their
relative positions, and the choice of them demands appreciation of the work
generally, as well as of the details of the materials of which it is composed. It
demands, in fact, a certain correspondence of feeling with the original author in
the mind of arranger or translator. Authoers have often been fortunate in having
other great authors for their translators, but few have written their own Works in
more languages than one. Music has had the advantage of not only havinga
arrangements by the greatest msters but arrangements by them of their own
works. Such cases ought TO BE THE HIGHEST ORDER OF THEIR KIND, AND
IF THERE are any things Worth nothing in the comparison betwee
arrangements and originals they ought to be found there.
The earliest things which answered the purpose of arrangements were
the publications of parts of early operas, such as the recitatives and airs with
merely figured bass and ocasional indications of a figure or a melody for the
accompaniament. In this manner were published operas of Lully and Haendel,
and many how forgotten composers for the stage of their time and before; but
these are noto f a nature to arouse much interest.