2” (based on the “Rondo a Capriccio” piano piece, which itself quotes from Beethoven’s Fifth Symphony), and the “Totentanz” piano piece (which quotes from Beethoven’s Dies Irae theme from his Symphony No. Other Beethoven-inspired Liszt pieces include the “Mephisto Waltz” (based on the “Witches’ Dance” from Beethoven’s Seventh Symphony), the “Hungarian Rhapsody No. For example, Liszt’s “Funeral March” piano piece is based on Beethoven’s “Funeral March” from his Eroica Symphony. In fact, many of Liszt’s pieces contain direct quotes from Beethoven’s work. Liszt was heavily influenced by the music of Ludwig van Beethoven. He was also one of the first celebrity musicians, and his fans would travel great distances to see him perform. Liszt is considered to be one of the greatest pianists of all time. He was also a benefactor to other composers, including Richard Wagner and Hector Berlioz.
After working on a solo-piano reduction of the Ode to Joy finale, the composer wrote that he “became inevitably and distinctly convinced of the impossibility of making any pianoforte arrangement of the fourth movement for two hands that could in any way be even approximately effective or satisfactory.Franz Liszt was a Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, and organist of the Romantic era. “The only reason to do this is to prove something pianistically, which is not my approach.” “If it doesn’t reflect anything in the orchestral score, then I don’t pay attention,” this Montreal Conservatoire professor says. Raymond observes the contortionist instruction but ignores the vaulting left-hand octaves Liszt offers four bars into the finale as a “più difficile” virtuoso alternative to a tremolo. In the Andante con moto second movement of the Fifth, Liszt requires the pianist to play the melody in violas and cellos with the left hand while “plucking” the double bass notes with the right. Schumann wrote his well-known analysis of Berlioz’s Symphonie fantastique after hearing Liszt’s transcription of the work. Students and scholars depended on transcriptions to learn orchestral repertoire. Pianos were ubiquitous in middle-class homes in the 19th and early 20th centuries and the appetite for music, original and transcribed, was voracious. When Liszt finished his work in 18, monastically ensconced outside Rome in the Oratory of the Madonna del Rosario, he wrote to Breitkopf, again rather optimistically, that “pupils of the first class in the Conservatoires will be able to play them off fairly well on reading them at sight, save and except that they will succeed better in them by working at them, which is always advisable.”Īs curious as they seem - Brott is billing this cycle as a Montreal première - the Beethoven transcriptions belong to a huge corpus of music literature that is now almost entirely neglected. 6 (Pastoral) became “something of a recital warhorse,” according to Liszt biographer Alan Walker - it is clear from correspondence that the composer viewed their value as at least partly pedagogical. While Liszt did perform his Beethoven transcriptions in public - Symphony No. It is true that they are less necessary than they once were, given the availability of live orchestral performances and recordings. 6, complete with self-deprecating liner notes by the artist.īut despite the continued popularity of Liszt’s virtuoso solo-piano work on behalf of Lieder and opera - last week the American pianist George Li played Liszt’s take on the Schumann song Widmung as an encore in the Maison symphonique - the piano versions of the Beethoven Symphonies are almost never heard in the concert hall. Collectors of a certain age might recall the 1968 Columbia Masterworks recording by Glenn Gould of Symphony No. Liszt’s Beethoven transcriptions are, by comparison, mysterious. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.
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