Arranging and transcribing music is one of my favorite ways to keep my creative energy alive. It’s not just about adapting music; it’s about knowing the players, understanding the audience, and finding the perfect balance of fun and challenge for everyone involved. Whether I’m re-orchestrating a symphony for a university string orchestra or crafting a cello and piano arrangement, my approach varies depending on the purpose and ensemble.

The Utilitarian Approach: Keeping it Simple but True
Let’s start with the utilitarian side of arranging. This is my go-to method for university ensembles when I need a practical, straightforward adaptation. Imagine you’re orchestrating a Mozart piano sonata. In this case, the violins and flutes might take the top voice, the cellos and basses handle the bassline, and everything else finds its natural home in between. The key typically stays the same, though I might adjust it if absolutely necessary for the group, as I did in the case of the Scarlatti Suite by Rosario Scalero.

Unlike many school-level arrangements, I rarely simplify/oversimplify the original material. I believe that music should be chosen at the appropriate level with as little intervention from the arranger as possible. This philosophy works especially well for our string orchestra. When we perform a symphony, the wind parts are seamlessly absorbed into the string arrangement, maintaining the same technical level as the original. The result? A rich, authentic performance that respects both the composer and the musicians.

The Literal vs. Creative Divide: Approaches for Cello and Piano
When I arrange for cello and piano, I shift gears. Here, I work in two styles: the literal and creative approaches. Each has its own charm and purpose.

The literal approach is just what it sounds like. When transcribing a piano piece, I redistribute the voices to suit the cello and piano, tweaking octaves here and there to make the arrangement more idiomatic. The goal is to preserve the integrity of the original work while ensuring it feels natural for the instruments involved. This approach is like translating a book—you want to stay faithful to the author’s intent while making it flow in the new language.

Then there’s the creative approach, which is where the fun really begins. Here, I take liberties: paraphrasing sections, altering harmonies, or even adding original material. Think of this as reimagining the piece rather than simply translating it. Great arrangers like Cassadó and Godowsky excelled in this style, turning original works into something entirely fresh while still honoring their essence.

One of my favorite examples of this balance is J.S. Bach’s keyboard arrangements of Vivaldi and Marcello concertos. While he stayed true to their form, his creative textures brought out entirely new dimensions in the music.

Why Arranging Matters
For me, arranging is more than just a technical exercise. It’s a way to expand my repertoire, stretch my imagination, and give my ensemble pieces they might not otherwise experience. It’s also deeply rooted in tradition—after all, many of history’s greatest composers were also incredible arrangers. From Bach’s reworkings to Stravinsky’s brilliant orchestrations, arranging is as much a part of music history as original composition.

Ultimately, whether I’m creating a faithful transcription or an adventurous reimagining, my goal is the same: to breathe new life into music while respecting its core. And along the way, I get to keep my creative juices flowing—a win-win for everyone involved.