Hyperion Records

Marche funèbre de la Symphonie heroïque de L. van Beethoven – Partition de piano, S463e
composer
1802; Op 55
arranger
1841; first version

Recordings
'Liszt: The complete music for solo piano, Vol. 44 – The Early Beethoven Transcriptions' (CDA67111/3)
Liszt: The complete music for solo piano, Vol. 44 – The Early Beethoven Transcriptions
Buy by post £26.00 CDA67111/3  3CDs   Download currently discounted
'Liszt: Complete Piano Music' (CDS44501/98)
Liszt: Complete Piano Music
Buy by post £200.00 CDS44501/98  99CDs Boxed set + book (at a special price)  
Details
Track 7 on CDA67111/3 CD1 [16'43] 3CDs
Track 7 on CDS44501/98 CD67 [16'43] 99CDs Boxed set + book (at a special price)

Marche funèbre de la Symphonie heroïque de L. van Beethoven – Partition de piano, S463e
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Beethoven composed his Sinfonia Eroica (No 3 in E flat major, Op 55) in 1803 and, after deciding against a dedication to Bonaparte, inscribed it to Prince von Lobkowitz. Liszt transcribed just the second movement in 1841. It appeared in Vienna the following year in a dedicatory volume designed to raise money for the Beethoven monument in Bonn. (Liszt, as we know, was a major contributor to the expense of the sculpting – and the ceremonies surrounding the eventual unveiling – of the monument.) The piece was published separately (without dedication) in 1843 with the title as above, but in the volume and on the first page of the music is given ‘transcrite’ rather than ‘Partition de Piano’. (The volume was beautifully reprinted in Budapest in 1991: Liszt’s piece is first, then follow the Chopin Prélude, Op 45, Czerny’s Nocturne, Op 647, Döhler’s Impromptus fugitifs, Op 39, Henselt’s Wiegenlied (from Op 13), Kalkbrenner’s L’Echo! – Scherzo, Mendelssohn’s Variations sérieuses, Op 54, Moscheles’ Deux Études, Op 98, Taubert’s Fantaisie, Op 54, and Thalberg’s Romance sans paroles, Op 41/3, with multi-coloured title pages and illustrations.) The many small differences between Liszt’s transcription of the single movement and its revision in the later transcription of the whole symphony frequently concern his customary demands in music from his years as a public performer for much broader stretches, especially in the left hand, rendering the first version somewhat more sonorous because of the thicker chordal writing, especially when the bass line is often an octave lower than in the later version.

from notes by Leslie Howard © 1997

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