Franz Liszt (1811-1886)
Piano Transcription of Beethoven’s Symphony No. 9
(S464/R128)
Born at Raiding, in Hungary, in 1811, the son of Adam Liszt,
a steward in the service of Haydn’s former patrons, the Esterházy Princes,
Franz Liszt had early encouragement from members of the Hungarian nobility,
allowing him in 1822 to move to Vienna, for lessons with Czerny and a famous
meeting with Beethoven. From there he moved to Paris, where Cherubini refused
him admission to the Conservatoire. Nevertheless he was able to impress
audiences by his performance, now supported by the Erard family, piano
manufacturers whose wares he was able to advertise in the concert tours on
which he embarked. In 1827 Adam Liszt died, and Franz Liszt was now joined
again by his mother in Paris, while using his time to teach, to read and
benefit from the intellectual society with which he came into contact. His
interest in virtuoso performance was renewed when he heard the great violinist
Paganini, whose technical accomplishments he now set out to emulate.
The years that followed brought a series of compositions,
including transcriptions of songs and operatic fantasies, part of the
stock-in-trade of a virtuoso. Liszt’s relationship with a married woman, the
Comtesse Marie d’Agoult, led to his departure from Paris for years of travel
abroad, first to Switzerland, then back to Paris, before leaving for Italy,
Vienna and Hungary. By 1844 his relationship with his mistress, the mother of
his three children, was at an end, but his concert activities continued until
1847, the year in which his association began with Carolyne zu
Sayn-Wittgenstein, a Polish heiress, the estranged wife of a Russian prince.
The following year he settled with her in Weimar, the city of Goethe, turning
his attention now to the development of a newer form of orchestral music, the
symphonic poem, and, as always, to the revision and publication of earlier
compositions.
It was in 1861, at the age of fifty, that Liszt moved to
Rome, following Princess Carolyne, who had settled there a year earlier.
Divorce and annulment seemed to have opened the way to their marriage, but they
now continued to live in separate apartments in the city. Liszt eventually took
minor orders and developed a pattern of life that divided his time between
Weimar, where he imparted advice to a younger generation, Rome, where he was able
to pursue his religious interests, and Pest, where he returned now as a
national hero. He died in 1886 in Bayreuth, where his daughter Cosima, widow of
Richard Wagner, lived, concerned with the continued propagation of her
husband’s music.
Whatever the accuracy of Liszt’s account, fifty years later,
of his meeting with Beethoven in Vienna through the insistence of his then
teacher, Czerny, he continued always to hold Beethoven in the greatest respect,
a reverence reflected in his activities in the cause of the Beethoven Monuments
in Bonn and Vienna and festivals of Beethoven’s music, and in his inclusion of
Beethoven’s piano compositions in his recitals. Among particularly treasured
possessions itemised in the will he made in 1860 were the death mask of
Beethoven and his Broadwood piano, which after Liszt’s death was presented by
Princess Carolyne and her daughter, Princess Hohenlohe, to the National Museum
in Budapest.
In the summer of 1837, spent at the country house of George
Sand at Nohant, Liszt, accompanied there by Marie d’Agoult, had worked on his
piano transcriptions of Beethoven’s Symphonies Nos. 5 and 6, which were
published, with a transcription of Symphony No.7 in 1840. These early versions
of Beethoven symphonies were later to be revised and supplemented by
transcriptions of the six other symphonies, including, after some reluctance,
the Choral Symphony, which he had transcribed for two pianos in 1851. The new
transcriptions were made in 1863 and 1864, with the last movement of the Choral
Symphony, over which he had hesitated, added in 1865. This final movement had
caused him some difficulty, eventually only partly resolved by the inclusion of
the choral parts on two staves printed above the orchestral reduction. This
makes the musical structure clear enough, with the choral parts implicit in the
transcription on the two lower staves. In 1863 Liszt had moved to a retreat
outside Rome at the monastery of Madonna del Rosario on Monte Mario. Here he
occupied a room of great simplicity, with a small and defective piano at his
disposal, although the relative tranquillity of his life was occasionally
interrupted by visitors, including, on one significant occasion, Pope Pius IX.
It was at the urging of Breitkopf and Härtel that he now undertook the revision
of his earlier transcriptions of Beethoven symphonies and the completion of the
whole set. The proofs were corrected by Liszt while he was preparing for
admission to minor holy orders, lodging in the Roman residence of his friend,
the future Cardinal, Prince Gustav Adolf von Hohenlohe-Schillingsfürst, whose
brother had married one of the daughters of Princess Carolyne. The
transcriptions were published in 1865 with a dedication to Liszt’s son-in-law,
the pianist and conductor Hans von Bülow.
The transcriptions must speak for themselves. Liszt is
meticulous in his accurate reproduction of original phrasing and his
specification, where necessary, of the original instrumentation. Critics have
compared his transcriptions favourably with the earlier piano versions of the
symphonies by the virtuoso pianist Kalkbrenner, a pioneer in this field. Liszt
does not primarily seek for technical display, however demanding the transcriptions
may be. He is particularly adept in his solution of problems of balance and
sonority, and helpful in the suggested fingerings that are included and in the
care taken to distinguish parts in notation.
Keith Anderson