Symphonies Nos. 6-9 for Piano Four Hands

by Ludwig van Beethoven

Beethoven's Symphonies Numbers Six Through Nine, arranged for solo piano by Franz Liszt. "The name of Beethoven is sacred in art. His symphonies are at present universally acknowledged to be master-pieces; whoever seriously wishes to extend his knowledge or to produce new works can never devote too much reflection and study upon then. For this reason every way or manner of making them accessible and popular has a certain merit, nor are the rather numerous arrangements published so far without relative merit, though, for the most part, they seem to be of but little intrinsic value for deeper research. The poorest lithograph, the most faulty translation always gives an idea, indefinite though it be, of the genius of Michel Angelo, of Shakespeare, in the most incomplete piano-arrangement we recognize here and there the perhaps half effaced traces of the master's inspiration. By the development in technique and mechanism which the piano has gained of late, it is possible now to attain more and better results than have been attained so far. With the immense development of its harmonic power the piano seeks to appropriate more and more all orchestral compositions. In the compass of its seven octaves it can, with but a few exceptions, reproduce all traits, all combinations, all figuration's of the most learned, of the deepest tone-creations, and leaves to the orchestra no other advantages, than those of the variety of tone-colors and massive effects -- immense advantages, to be sure. Such has been my aim in the work I have undertaken and now lay before the musical world. I confess that I should have to consider it a rather useless employment of my time, if I had but added one more to the numerous hitherto published piano-arrangements, following in their rut; but I consider my time well employed if I have succeeded in transferring to the piano not only the grand outlines of Beethoven's compositions but also all those numerous fine details, and smaller traits that so powerfully contribute to the completion of the ensemble. My aim has been attained if I stand on the level with the intelligent engraver, the conscientious translator, who comprehend the spirit of a work and thus contribute to the knowledge of the great masters and to the formation of the sense for the beautiful. Rome, 1865.F. Liszt." (English translation by C. E. R. Mueller.)

224 pages, Paperback

Published December 17, 2004

About the author

From classical composition, well-known musical works of Ludwig van Beethoven, a partially and then totally deaf German, include symphonies, concertos, sonatas, string quartets, Masses, and one opera and form a transition to romanticism.

Ludwig van Beethoven lived of the period between the late and early eras. A mother in Bonn bore him.

People widely regard Ludwig van Beethoven as one greatest master of construction; sometimes sketched the architecture of a movement and afterward decided upon the subject matter. He first systematically and consistently used interlocking thematic devices or “germ-motives” to achieve long unity between movements. He equally remarkably used many different “source-motives”, which recurred and lent some unity to his life. He touched and made almost every innovation. For example, he diversified and even crystallized, made and brought the more elastic, spacious, and closer rondo. The natural course mostly inspired him, and liked to write descriptive songs.

Ludwig van Beethoven excelled in a great variety of genres, piano, other instrumental for violin, other chamber, and lieder.

People usually divide career of Ludwig van Beethoven into early, middle, and late periods.

In the early period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second, the first six, the first three piano, and the first twenty piano, the famous “Pathétique” and “Moonlight."

The Middle (Heroic) period began shortly after Beethoven’s personal crisis centering around his encroaching. The period is noted for large-scale expressing heroism and struggle; these many of the most famous. Middle period six (numbers 3 to 8), the fourth and fifth piano, the triple and violin, five (numbers 7 to 11), the next seven piano (the “Waldstein” and the “Appassionata”), and Beethoven’s only Fidelio.

Beethoven’s Late period began around 1816. The Late-period are characterized by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Many people in his time period do not think these measured up to his first few, and his with J. Reinhold were frowned upon. Of this period also the Missa Solemnis, the last five, and the last five piano.