Abstract
Transcriptions of operas and oratorios for string quartet and quintet respresent a unique category of chamber music. The strings take over the vocal, wind, and string parts respectively. Whereas the quintet version of Fidelio (1815) is complete and includes the melodrama and its spoken text, the quartet versions of Rossini’s Tancredi, Otello, La Gazza ladra, Mosè in Egitto, La Dame du lac, Semiramide, Moïse en Égypte are lacking some numbers, while long dramatic scenes are often shortened and inserted arias extended. The technical demands on the players are, with occasional exceptions, equal to those found in the opera score. Performed by male instrumentalists, these transcriptions were performed in private homes, salons, and provincial theaters that lacked a full orchestra.
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