second movement, "Gnomus", Mussorgsky's original piano piece simply repeats the following passage: Ravel initially orchestrates it as follows: Repeating the passage, Ravel provides a fresh orchestration "this time with the celesta (replacing the woodwinds) accompanied by string glissandos on the fingerboard". Songs A number of Franz Schubert's songs, originally for voice with piano accompaniment, were arranged by other composers. For example, Schubert's "highly charged, graphic" song Erlkönig (the Erl King) has a piano introduction that conveys "unflagging energy" from the start: The arrangement of this song by Hector Berlioz uses strings to convey faithfully the driving urgency and threatening atmosphere of the original. Berlioz adds colour in bars 6-8 through the addition of woodwind, horns, and a timpani. With typical flamboyance, Berlioz adds spice to the harmony in bar 6 with an E flat in the horn part, creating a half-diminished seventh chord which is not in Schubert's original piano part. There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat. Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar 6, with the note A in the oboes and clarinets grating against rather than blending with the G in the strings. "Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt's transcriptions of the Lieder or Berlioz’s orchestration for Erlkönig, tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original". Gustav Mahler's Lieder eines fahrenden Gesellen (Songs of a Wayfarer) were originally written for voice with piano accompaniment. The composer's later arrangement of the piano part shows a typical ear for clarity and transparency in re-writing for an ensemble. Here is the original piano version of the closing bars of the second song, "Gieng heit' Morgen über's Feld": The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral colours supplied by woodwind, strings and horn. Mahler uses a harp to convey the