How did I not know these existed?
https://en.wikipedia.org/wiki/Beethoven_Symphonies_%28Liszt%29
Beethoven Symphonies (French: Symphonies de Beethoven), S.464, is a set of nine transcriptions for solo piano by Franz Liszt of Ludwig van Beethoven's symphonies.
I only discovered this because I randomly heard the 2nd movement of the 7th on the radio while in Baltimore and Googled/YouTubed for it after getting back to CA.
Different character, of course (in my own... ... idiom sir?) but just as enthralling. And I don't say that lightly, for my money the 7th is in a dead heat with the 9th for my favorite of the 9 (about the only thing I don't like about the 7th is the abrupt ending to the 3rd movement)
Related links:
- unique arrangements: Bohemian Rhapsody on a fairground organ
- for Beethoven aficionados, especially of the 5th and 7th, I cannot recommend this CD set highly enough. (Context: this entry) one disc is 5th & 7th, and disc 2 contains a riveting discourse regarding the "correct" tempo for several of his major pieces -- it's more interesting than it sounds, really! I think Zander makes a really good case, and even if you aren't convinced it's at least an interesting talk.
Beethoven Symphonies (French: Symphonies de Beethoven), S.464, is a set of nine transcriptions for solo piano by Franz Liszt of Ludwig van Beethoven's symphonies.
I only discovered this because I randomly heard the 2nd movement of the 7th on the radio while in Baltimore and Googled/YouTubed for it after getting back to CA.
Different character, of course (in my own... ... idiom sir?) but just as enthralling. And I don't say that lightly, for my money the 7th is in a dead heat with the 9th for my favorite of the 9 (about the only thing I don't like about the 7th is the abrupt ending to the 3rd movement)
Related links:
- unique arrangements: Bohemian Rhapsody on a fairground organ
- for Beethoven aficionados, especially of the 5th and 7th, I cannot recommend this CD set highly enough. (Context: this entry) one disc is 5th & 7th, and disc 2 contains a riveting discourse regarding the "correct" tempo for several of his major pieces -- it's more interesting than it sounds, really! I think Zander makes a really good case, and even if you aren't convinced it's at least an interesting talk.