The transcription has found a unique place for itself in the history of music. Some of the first pieces for the piano (and indeed some of the most often played) were in fact not written for the piano originally yet have become very closely associated with it nonetheless. It is unusual to find the word ‘transcription’ in the piano repertoire with the cord concert attached to it in some way. This implies not only that the piece is to be played in the public area but also that aspects of virtuosity, showmenship and excitement are not far away. These are all strong elements of the pieces to be featured in this book. Both Horowitz and Busoni were undoubtedly showman despite the deep musical qualities which each of them possessed - and this is apparent in these transcriptions of Bizet’s music. However, their ability on the piano was not limited to playing fast. Perhaps the greatest wonder of these works is the way in which the orchestral colours have been absorbed into the piano writing.