I’m entering the Hard Part now, hard because it doesn’t fit as well on a piano keyboard. I’ve already had to drop it by two octaves for obvious reasons — this is not a flautino. Then, I had to raise the second part an octave relative to the first, so that’s only down one octave from the original.
And there’s a really nice part where he’s got some triplet action going on in EM and DM, and I think I’m going to sort of bounce that back and forth between soprano and alto “voices.” I do want to make sure there’s a high-pitched sort of icy feel to parts of it. Despite hating high-pitched noises, this thing is meant to be played on the Baroque equivalent of a dog whistle, and the piano arrangement could reflect that without making me cringe. And hey, it’s motivation for me to actually get that pianissimo right.
It’s really terrific fun arranging my favorite classical pieces that aren’t meant for piano. I’m so glad that I got rid of that “only the notes as written!” attitude. There’s a place for it, and when I play piano music, I do play it as written. If it’s something I love, I want to. But for something like this, that’s not meant for my instrument in the first place, it’s so much fun to try to “translate” it and keep all the stuff that catches my ear in the process.