Dmitri Shostakovich’s Arrangements of Igor Stravinsky’s and Gustav Mahler’s Symphonies for Piano Four Hands.

  Piano arrangements of the orchestral music of other authors is a quantitatively modest and at first glance marginal part of Dmitri Shostakovich’s heritage. Only three such works are known, preserved as holographs. Two of them are complete, while the third has only been partially done. These are the arrangements of the following compositions: Adagio (first movement, fragment) of Gustav Mahler’s Tenth Symphony, Igor Stravinsky’s Symphony of Psalms and Arthur Honegger’s Third Symphony (“Liturgical”).
  None of these manuscripts is dated. However, indirect evidence makes it possible to presume that the arrangements were done in the indicated order, each a decade apart. All three works were ground-breaking for their time, and two of them belong to composers for whom Shostakovich felt special deference.

Igor Stravinsky. Symphony of Psalms.
Dmitri Shostakovich’s Arrangement for Piano Four Hands.

  This first edition is based on the author’s manuscript kept in Dmitri Shostakovich’s Archive—rec. gr. 1, section 1, f. 315. It is collated with the edition of the score: I. Stravinsky, Symphony of Psalms, Muzyka Publishers, Moscow, 1969. The piano notation of the arrangement combines orchestral and choir parts. There is in fact no choral score in the author’s manuscript; in this edition, it has been added by the editor. Some rehearsal numbers are missing in the author’s manuscript; they have been added in accordance with the score.

Gustav Mahler. Tenth Symphony (Fragment).
Dmitri Shostakovich’s Arrangement for Piano Four Hands.

  This first edition is based on the author’s manuscript kept in the Glinka All-Russia Museum Association of Musical Culture (VMOMK)—rec. gr. 32, f. 280 and the copy in Dmitri Shostakovich’s Archive—rec. gr. 2, section 1, f. 69. It is collated with the edition of the score: G. Mahler, Tenth Symphony, Muzyka Publishers, Moscow, 1974. The slurs, articulation marks, accents and dynamic signs are printed in accordance with the score (they are written carelessly or are absent altogether in places in the author’s manuscript of the arrangement).