PIANO MUSIC - Abeille Musique

these transcriptions have remained the province of the
few.) The pizzicato strings and the held wind chords are
neatly approximated with acciaccaturas. In the introduction,
and later with the oboe melody, Liszt lowers some
material by an octave in order to throw the counterpoint
into better relief. At the end of the exposition two versions
of the right hand offer a choice between an emphasis on
the string tremolos or the wind syncopation. A feature
typical of many of Liszt’s transcriptions of orchestral
music is the substitution of octave triplets in short
descending or ascending groups in the place of four
semiquavers. Semiquaver octaves would usually prove
impracticable at high speed, and a single line of semiquavers
would fail to achieve the correct weight.
For anyone wishing to try his hand at one of these
transcriptions (especially anyone hitherto raised on one of
the worthy piano-duet versions which abound) the second
movement of the First Symphony would be a good place to
start because, apart from the occasional demand of the
stretch of a tenth, the writing is very agreeable. Liszt’s
practice, when faced with too much material to transcribe
in a manner clearly distinguishable in the part-writing, is
to add a supplementary stave or two to give background
information. Thus the chords which alternate between
strings and winds at the end of the exposition are not
required to be played, but have been deemed of lesser
importance than the melody triplets, the repeated bass
line, the held trumpet and just a hint of the accompanying
staccato chords.
In the Scherzo (Beethoven’s description of it as a
minuet is surely a joke), some of the trumpet and drum
parts are printed as a guide only. It would be impossible to
add them without their becoming distractive from the
moving lines. Liszt has decided in many cases thoughout
the series of all nine Symphonies that the actual notes of
the restricted trumpet and drum of Beethoven’s time are
6
much less important than the added weight their presence
gives. His attempt in the Trio to hold the wind chords
under the rushing string quavers is a splendid effect,
certainly not requiring the use of the middle ‘sostenuto’
pedal, but rather a deliberately blurred texture with both
the other pedals employed.
The finale is very straightforwardly transcribed, and
one or two adventurous passages are given easier alternatives.
But it is better for Beethoven’s sake to grit the
teeth and essay the wicked scales in thirds at the coda.
Symphony No 2 in D major Op 36
Beethoven’s Symphony No 2 was completed around the end
of 1802 and it bears a dedication to Prince Lichnowsky.
Interestingly, Beethoven himself made a transcription of
the work (without dedication) for piano, violin and cello,
most probably in 1805. Liszt’s transcription, dedicated as
usual to his then son-in-law von Bülow, dates from 1863.
We do not know if Liszt was familiar with Beethoven’s trio
version, but it is illuminating to note the many similarities
of Beethoven’s piano part to Liszt’s transcription: the
fiendish opening theme of the last movement must
perforce go to the piano, repeated notes and all, in Liszt’s
version, but it is delightful to see that Beethoven, even with
a violin in his ensemble which could have taken the
original first violin line, also gives it to the piano.
Just as Beethoven’s introduction marks a colossal
advance upon that of the First Symphony, so Liszt’s
transcription responds with wonderful imagination and
dexterity (over which he felt obliged to offer a simpler
alternative, not resorted to on this recording). Other
alternative suggestions (incorporated in the present
performance) do not strictly adhere to Beethoven’s letter,
but seem better to capture the spirit: two little replacements
of tremolos by arpeggios towards the end of the first
subject group, and some left-hand figurations at the end of