Otto Singer (transcriptions vs. Liszt) + Value of symphonic transcriptions

[delude]

In my explorations of IMSLP, I have come across the name Otto Singer quite frequently, as a transcriber, editor, and even as a composer. He seems to have worked with a variety of publishers. He transcribed Tchaikovsky symphonies, Brahms symphonies, Mahler symphonies, Strauss works, Bruckner symphonies, Mozart symphonies, Bizet's Carmen, Schubert symphonies, Wagner works, etc., and etc., for both 2 hands and 4 hands.  

Here is a short Wikipedia blurb about him: https://en.wikipedia.org/wiki/Otto_Singer

From my research elsewhere, I have learned that his transcription of Mahler's 5th is probably the one played by Mahler (with additions) on that Welte-Mignon piano roll. And also that Singer was in contact with Liszt through letters. I am curious why Singer would write the transcriptions of Beethoven, being such an "earnest and aggressive disciple of Liszt," who, of course, had already transcribed all of the symphonies. I guess C.F. Peters (publisher of the Singer transcriptions) wanted to compete with Breitkopf & Härtel (publisher of the Liszt)? It would be interesting to compare the two.

Has anyone here any opinion of Otto Singer's transcriptions or any other information about him?

Also, how valuable really are symphonic transcriptions for a pianist? Could they find a place in the repertoire of a pianist interested in uncommon repertoire? Or is this true only when the trascriber has a solid reputation (as with Liszt), or when the composer transcribes their own works?

[richard black]

First thing: I have the idea (though I can't remember where I got it from) that there are two Otto Singers, father and son - which would account for a rather long productive life.

Anyway, I've played lots of opera vocal scores arranged by Otto Singer and they're not bad, not necessarily the best ever but certainly very far from the worst. Concert transcriptions seem rather less interesting - they're mostly done along the same lines as the opera vocal scores, i.e. pretty literal, which is perfect for opera rehearsing purposes but a bit dull for concert performance.

[birba]

Interesting thread.  There is an Otto Singer who died in 1931, so maybe it  IS this otto Singer's son.  I've been battling with Singer's editions of Elektra, salome, etc. for 30 years now, and most of it is NOT pianistic at all.  (read: impossible)  But then again I never expect an opera score to be playable.  They present all the orchestral possibilities and you choose the necessary ones.  So, there is a big difference between piano transcriptions to be played in full in public, and piano transcriptions to be plowed through in stage rehearsals.