Beethoven:
Romanze in F major, Op. 50
Sonata in A major, Op. 69
Triple Concerto in C major, Op. 56

Since the days of Haydn, Mozart and Beethoven, the use of piano reductions of orchestral music, and even of string quartets, has been a customary way of becoming acquainted with new music. One could play the music at home as often as desired. Before technical progress made sound reproduction possible, this was not only the conventional way to become familiar with certain compositions, but it also allowed concert performances in this format, in the event the available funds not allow enga-ging an orchestra. This is still the case in today’s musical culture: when certain music is not (or not often enough, in the view of performing musicians) performed by symphony orchestras, chamber ensembles can present these works in arrangements- a boon, of corse, for communities without symphonic concerts. The concept of arranging or rewriting music for other, usually smaller, ensembles has a long history, and it still exists today in many forms. Composers often arrange their own music or that of others, ranging from literal transcriptions to rather free versions, with additions and alterations. Well known examples from the past include Johann Sebastian Bach, who arranged his own works and music of other composers, and Johannes Brahms, who wrote viola- versions of his sonatas for clarinet and piano. Henri Vieuxtemps wrote a solo viola part for Mozart’s clarinet concerto, Igor Stravinsky and Arnold Schoenberg arranged their own compositions, often radically changing the instrumentation and the number of performers. The celebrated composer of this compact disc, Ludwig van Beethoven, recomposed his piano sonata no. 9, Op. 14 no.1 for string quartet, changing the key from E major to F major. He arranged his famous Septet Op. 20 (for winds and strings) for piano trio, and allowed others to arrange the Second Symphony for piano trio and the Serenade Op. 25 (written for flute, violin and viola) for viola and piano, or flute and piano.