When performing a laborious work (piece), performers are constantly haunted by both the interpretation and the technique. With the help of the analysis and research of the musical piece, performers can shorten their time of practice by gaining a deeper understanding of the piece’s composing background and give out a better performance (interpretation). Many kinds of research have been done on some of the most difficult works on the planet like Islamey, Gaspard de la Nuit and Rachmaninoff: Piano Concerto No.3. Other from most of the tonal pieces in the 18th century, the Firebird was composed in a collage style by Igor Stravinsky (1882-1971) and then adapted into the piano solo by Guido Agosti (1901-1989). The absence of the connection between the tonic chord (function) and the dominant chord leads to a complicated distribution of voices with a wide variety of timbre. For this reason, the transcription of the Firebird for piano solo can be extremely hard to interpret without a careful study of the full score. Therefore, our work mainly focuses on the analysis of the collage composing method, the weave of melodic lines and the musical texture for both the transcription and the original work. By the analysis and the explanation in both interpretation and technique aspects, our research can not only solve the performer’s technical obstacles but also inspire touching interpretation.

J. S. Bach (1685-1750): The Well-Tempered Clavier Book I Prelude and Fugue in g-sharp minor, BWV863

J. S. Bach (1685-1750): The Well-Tempered Clavier Book II Prelude and Fugue in e minor, BWV879

L. v. Beethoven (1770-1827): Piano Sonata in E major, Op. 109

F. Chopin/L. Godowsky (1810-1849/1870-1938): Study No. 42 in a minor after Op. 25, No. 11

J. Brahms (1833-1897): Intermezzo in A major, Op. 118, No.2

I. Stravinsky/G. Agosti (1882-1971/1901-1989): L’Oiseau de feu- Danse Infernale, Berceuuse et Finale