@@johntravena119What?!? Dramatic structure and last movement conventions aside for his other symphonies, MOST of *this* symphony is upbeat. If anything, the second movement is more "out-of-place", but I do think it adds sombreness and slowness the rest of it lacks.
Tip for playing the one-handed 3 against 4 polyrhythm in the second movement: play the second 16th note as a acciaccatura before the second triplet, the third 16th note right between the middle of the 2nd and 3rd triplets, and hit the last 16th note lightly right after hitting the last triplet.
What is a "piano reduction," I think you mean transcription for piano. Reduction sounds like simplification, Liszt's versions (transcriptions) are piano symphonies.
Katsari's plays the allegro con brio more masterfully than anything I could imagine. I don't know if anyone will ever be able to match his recordings of the 7th and 9th beethoven/liszt transcriptions.
Ludwig Van Beethoven - The Seventh Symphony in A major, Opus 92 00:00 Poco sostenuto - Vivace 14:47 Allegretto 24:09 Scherzo. Presto 31:37 Allegro con brio
@@CatkhosruShapurrjiFurabji ...yes but I don't get why he accelerates at the end the coda of 1st movement! It might feel instinctive but you must keep the rhythm.
@@vittoriomarano8230 well, the question makes sense but you're asking the wrong person. Only Katsaris can answer that question as he chooses how to interpret the piece.
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.” 😂
5:43 I think he’s using the sostenuto pedal (the middle one) here to hold down the top A. I can’t see how else he’d play that with almost no right pedalling.
Marcel Simader... if you are lifting this music e.g. off the inter or youtube I am thinking it would be better to crwdit the performer... possibly Cyprien Katsaris?
You don't play those chords and the melody with the left hand. You only play the bass chords with your left hand. The melody and the accompanying arpeggiated chords are played with the right hand.
The melody is played with the right thumb. As for the notorious one-hand 3 against 4 polyrhythms, I play the second 16th note as a acciaccatura before the second triplet, the third 16th note right during the middle of the 2nd and 3rd triplets, and the last 16th note is played lightly right after I hit the last triplet.
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.”
Masterful performance! Is is blasphemous to feel the symphony is too indulgent for its own good. Its duration could express its content in half the time it took Beethoven and be better for it. I would not voice that opinion about any other of the master's symphonies.
It's a fair opinion to have, but not one I share at all. Maybe the Scherzo could stand not to repeat itself and the trio that extra time, but honestly I don't know what else one would - or could - cut.
I am thinking of the high speed we live and expect today. My younger students have no reverence for a work composed centuries ago. Either does the general public. Few can stay still to listen anymore. Your intelligent response was welcomed.
@@stevehinnenkamp5625 I don't know what the solugion for a lack of attention is, regarding music, but I'd say cutting it up so that it no longer makes sense structurally probably isn't the solution lol. If a piece is well-structured, then, as long as it can gain your attention in the first, it will probably keep it.
Liszt probably went on a 23 year hiatus because who really wants to transcribe the 8th symphony? Especially compared to the 7th and 9th! Can't really blame him.
It sounds like a historic tuning to me. Modern equal temperament wasn't a thing until around the late 19th to early 20th century (And no, Bach's well tempered was not equal temperament either, it was just a departure from meantone temperaments from before). Before that, tunings went toward pure thirds for chords with less accidentals, and thus less pure for chords with more accidentals. The result is that different keys actually sounded different, and composers like Beethoven chose keys to enhance the color of a piece - keys like C were tranquil, keys like D lively (Incidentally, the key of e-minor is one where the character changed greatly between meantone and well tempered), and keys with a lot of accidentals were full of tension.
First section is a bit too dry the staccato should be separated but with pedal or else’s you loose the length of the whole phrase and it gets broken up
@@p-y8210 Well, I'm inclined to feel the same... Beethoven knew pretty well how to write a piano sonata, but in this case, he chose to write a symphony.
My opinion? Too brillant attack! The Life-cheering Carnivalstile of Beethoven is been autopsied by a chirurgic scalpell. This record makes no fun. It scares and is only to adorate the piano-engine called Cyprien version 1.35
fella did his theme work with his head smooshed down on the keyboard,all hearing but for bass vibrations,,gone,remarkable,,,,, ehhm you too franz and you fan squeeze countess belgioioso, ( she dressed like elvira) bet she loved listening to his work
Glad you made that clear. Liszt's intention, though not stated in the same words, was to democratise serious music. He trained hundreds of pianists who would then do solo recitals including these symphonies. Bear in mind that in his day, ordinary people might hear a Beethoven symphony once in a lifetime- but they could hear the transcriptions often even in towns that didn't have a symphony orchestra. Liszt died a couple of years before even the most primitive of recording media was available.
What??? You clearly haven't heard the original? Sorry if the preforms interrupted your conversation but these 'arrangements' were designed to be listened to.
