Clive Mitten: Transcriptions

Transcriptions is Clive’s brand-new and first purely ‘classical’ album. Previously Clive has given orchestral ‘re-compositions’ of various Twelfth Night tracks (Suite Cryptique), and then to the progressive sounds that soundtracked his teenage years (Tales From A Misspent Youth – Vol I).

However, this time is it the world of traditional classical music that Clive has reached into for his latest release where he has interpreted some well-known and well-loved classical pieces. All the music was arranged (transcribed), programmed and recorded by Clive in his London home September 2021 to September 2022. Transcriptions is being released as a double CD in November 2022.

The full track listing is as follows:

CD1

Prokofiev: Symphony No.1 in D major Op.25, “Classical” arranged for two pianos and orchestra

1. Allegro
2. Larghetto
3. Gavotta: Non troppo allegro
4. Molto vivace

Vaughan Williams: Fantasia on a Theme by Thomas Tallis in G minor arranged for two pianos and two string orchestras

1. Largo Sostenuto

Bach: Concerto for 2 Harpsichords and Strings BWV1062 in C minor arranged for three pianos and string

1. Vivace
2. Andante e piano
3. Allegro assai

Mozart: Concerto for Flute and Orchestra in G major K.313 arranged for two pianos and orchestra

1. Allegro
2. Adagio
3. Rondo: Allegro

CD2

Haydn: Symphony No.101 in D major Hob.1/101, “The Clock” arranged for two pianos and orchestra

1. Adagio, Presto
2. Andante
3. Menuetto, Allegretto
4. Vivace

Debussy: Prélude à l’après-midi d’un faune in E major L.86 arranged for two pianos and orchestra

1. Très modéré

Schubert: String Quartet No.14 in D minor D.810, “Death and the Maiden” arranged for two pianos and two violin sections

1. Allegro
2. Andante con moto
3. Scherzo: Allegro molto
4. Presto

Beethoven: Piano Sonata in E flat Op.27 No.2 “Quasi Una Fantasia” arranged for piano, flute and strings

1. Adagio sostenuto

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A note of explanation from Clive:

Should you not be a frequent listener to classical music, transcriptions usually involve the re-writing of, for example, an orchestral piece, for another instrument such as the piano. What is unusual here, is that I have combined my transcriptions with the original pieces to create ‘piano concertos’. You will not find this music performed in this way elsewhere, I believe.

To create the sounds you hear on the album Clive uses two pianos: the Garritan Yamaha CFX Concert Grand and Synthology Ivory II Italian Grand (Fazioli f308), controlled from a Native Instruments Komplete Kontrol S61 Mk.2 and an 88 note dedicated piano controller keyboard with pedals. Strings and wind are by Spitfire Audio, brass by Native Instruments and Orchestral Tools.
Clive also uses a Minimoog occasionally to support the bass.

A 27″ iMac with 32GB RAM and Logic Pro music production software was used throughout.

At no point in recording or mastering was a compressor or limiter used. The dynamic range on these CDs is precisely the same as that heard in the studio.

With the exception of the Bach, all pieces have been set for one or two pianos and orchestra. Percussion has not been required owing to the percussive nature of the piano and brass is omitted in places to provide space for the piano. Orchestral scores have been re-arranged for the same reason. For the Bach, the harpsichords are on pianos to the left and right, with the strings in movements 1 and 3 on a central piano. All strings are antiphonally placed and on such as the Vaughan Williams, are in greater forces than the score suggests. The piano and string transcriptions/arrangements are by Clive with the exception of the Debussy which is based on Debussy’s own for four hands. The string arrangement on the Beethoven is by Clive. He hopes that this album may inspire others who can, to perform the pieces live with an orchestra.

Thanks are due to Simon Carver and all at RSK Distribution, Brian at Twelfth Night Cottage Industries, all at Bumnote Records, and especially to Angela Mitten, who has heard the fruits of my efforts every day as I listen back in the evening for a year, without complaint. I would also like to thank my small body of listeners who have periodically provided vital feedback as the album came together, and in particular Jane Mann, who provided technical advice regarding strings.

Finally thank you to all who are reading this and have or will soon be listening to the album.

Clive Mitten – October 2022

Biographical note:
Clive Mitten was taught piano from the age of four by his grandmother, a music teacher and performer. He then added classical guitar in his teens and, at Reading University in 1978, formed the progressive rock band Twelfth Night in which he played basses, guitars and keyboards throughout the 1980s. Following a career in management consultancy and politics he resumed music-making again in 2017. Since then he has released several albums culminating in Transcriptions. He has a second volume planned for 2023 which will feature Mussorgsky, Tchaikovsky, Sibelius and Beethoven.