CCLXVII. BEETHOVEN, Ludwig van: Symphony #2 in D Major, Op. 36 (piano reduction)

CCLXVII. BEETHOVEN, Ludwig van (1770-1827)

Symphony #2 in D Major, Op. 36 (1801-02)
Piano reduction by Franz Liszt (1811-1886)
1. Adagio molto -- Allegro con brio
2. Larghetto
3. Scherzo: Allegro
4. Allegro molto
Cyprien Katsaris, piano
[scrolling score]
(34:39)

Having studied the orchestral scores since I was a child, my initial reaction after coming across these reductions was one of indifference verging on horror.

After all -- who dared to try to reduce Beethoven's might Nine to the 88 keys of the piano?

But as I began to immerse myself -- left-hand page for the bass; right-hand side for the treble -- I began to appreciate some of the details which escapes the study of the scores, no matter how thorough I thought I might have been.

Besides, I imagined they sounded delightful, although I had never played them with another pianist.

**

I met my wife at a party on May 15, 1981 where we exchanged maybe five sentences and then phone numbers. One of the sentences had to do with the fact that we both played piano.

So our first date was set -- we'd read through the first movement of the Pastoral (see Post CXV). I bought a new tie. I was nervous. What if she was like a real concert pianist and my pitiful composer-piano would be so embarrassing?

She decided she wanted the left-hand page, so we sat on the bench and began.

So far, so good. Turn the page. The notes are coming fast and furious, but we're making music! Then I noticed that she was rushing.

We started over. Even though she was getting most of the notes, she was still rushing.

We took a break, and poured ourselves some Scotch. The rushing didn't stop, but she began giggling and I knew I was in love. (It took her a few more dates.)

**

We played the whole first movement at our wedding which was luckily caught on VHS. Now when my son-in-law percussionist/pianist comes to visit we give it a try, too!

**

Liszt did an amazing job -- the transcriptions were originally intended for just a solo pianist -- until he got to the Ninth (see Post C). He found he needed two pianos for that one!

In 1866, he was urged by the publisher Breitkopf and Härtel to try his hand at the string quartets:

"It is very mortifying to me to have to confess that I have most awkwardly come to a standstill with the Beethoven Quartets. After several attempts the result was absolutely unplayable -- or insipid stuff."

**

Thank God for that.