@@johntravena119What?!? Dramatic structure and last movement conventions aside for his other symphonies, MOST of *this* symphony is upbeat. If anything, the second movement is more "out-of-place", but I do think it adds sombreness and slowness the rest of it lacks.
Tip for playing the one-handed 3 against 4 polyrhythm in the second movement: play the second 16th note as a acciaccatura before the second triplet, the third 16th note right between the middle of the 2nd and 3rd triplets, and hit the last 16th note lightly right after hitting the last triplet.
Katsari's plays the allegro con brio more masterfully than anything I could imagine. I don't know if anyone will ever be able to match his recordings of the 7th and 9th beethoven/liszt transcriptions.
@@CatkhosruShapurrjiFurabji ...yes but I don't get why he accelerates at the end the coda of 1st movement! It might feel instinctive but you must keep the rhythm.
@@vittoriomarano8230 well, the question makes sense but you're asking the wrong person. Only Katsaris can answer that question as he chooses how to interpret the piece.
Ludwig Van Beethoven - The Seventh Symphony in A major, Opus 92 00:00 Poco sostenuto - Vivace 14:47 Allegretto 24:09 Scherzo. Presto 31:37 Allegro con brio
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.” 😂
5:43 I think he’s using the sostenuto pedal (the middle one) here to hold down the top A. I can’t see how else he’d play that with almost no right pedalling.
What is a "piano reduction," I think you mean transcription for piano. Reduction sounds like simplification, Liszt's versions (transcriptions) are piano symphonies.
Marcel Simader... if you are lifting this music e.g. off the inter or youtube I am thinking it would be better to crwdit the performer... possibly Cyprien Katsaris?
Liszt probably went on a 23 year hiatus because who really wants to transcribe the 8th symphony? Especially compared to the 7th and 9th! Can't really blame him.
You don't play those chords and the melody with the left hand. You only play the bass chords with your left hand. The melody and the accompanying arpeggiated chords are played with the right hand.
The melody is played with the right thumb. As for the notorious one-hand 3 against 4 polyrhythms, I play the second 16th note as a acciaccatura before the second triplet, the third 16th note right during the middle of the 2nd and 3rd triplets, and the last 16th note is played lightly right after I hit the last triplet.
Masterful performance! Is is blasphemous to feel the symphony is too indulgent for its own good. Its duration could express its content in half the time it took Beethoven and be better for it. I would not voice that opinion about any other of the master's symphonies.
It's a fair opinion to have, but not one I share at all. Maybe the Scherzo could stand not to repeat itself and the trio that extra time, but honestly I don't know what else one would - or could - cut.
I am thinking of the high speed we live and expect today. My younger students have no reverence for a work composed centuries ago. Either does the general public. Few can stay still to listen anymore. Your intelligent response was welcomed.
@@stevehinnenkamp5625 I don't know what the solugion for a lack of attention is, regarding music, but I'd say cutting it up so that it no longer makes sense structurally probably isn't the solution lol. If a piece is well-structured, then, as long as it can gain your attention in the first, it will probably keep it.
It sounds like a historic tuning to me. Modern equal temperament wasn't a thing until around the late 19th to early 20th century (And no, Bach's well tempered was not equal temperament either, it was just a departure from meantone temperaments from before). Before that, tunings went toward pure thirds for chords with less accidentals, and thus less pure for chords with more accidentals. The result is that different keys actually sounded different, and composers like Beethoven chose keys to enhance the color of a piece - keys like C were tranquil, keys like D lively (Incidentally, the key of e-minor is one where the character changed greatly between meantone and well tempered), and keys with a lot of accidentals were full of tension.
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.”
First section is a bit too dry the staccato should be separated but with pedal or else’s you loose the length of the whole phrase and it gets broken up
@@p-y8210 Well, I'm inclined to feel the same... Beethoven knew pretty well how to write a piano sonata, but in this case, he chose to write a symphony.
fella did his theme work with his head smooshed down on the keyboard,all hearing but for bass vibrations,,gone,remarkable,,,,, ehhm you too franz and you fan squeeze countess belgioioso, ( she dressed like elvira) bet she loved listening to his work
My opinion? Too brillant attack! The Life-cheering Carnivalstile of Beethoven is been autopsied by a chirurgic scalpell. This record makes no fun. It scares and is only to adorate the piano-engine called Cyprien version 1.35
Glad you made that clear. Liszt's intention, though not stated in the same words, was to democratise serious music. He trained hundreds of pianists who would then do solo recitals including these symphonies. Bear in mind that in his day, ordinary people might hear a Beethoven symphony once in a lifetime- but they could hear the transcriptions often even in towns that didn't have a symphony orchestra. Liszt died a couple of years before even the most primitive of recording media was available.
What??? You clearly haven't heard the original? Sorry if the preforms interrupted your conversation but these 'arrangements' were designed to be listened to.
Now the second movement hits different
Now try it with half a bottle of vodka and some hash.
@@nerrdinho Only half?! and only some hash?!?
Too clever by half 😫
Why? Did you watch _Irréversible_ or something?
I honestly think the 4th movement is one of Beethoven's most inspired and inspiring climaxes
É como se houvesse uma magia nesse movimento
I often find Beethoven’s final movements too upbeat for the rest of the work. It does have its moments though.
This is the most correct thing anyone has ever said
Thats what she said
@@johntravena119What?!? Dramatic structure and last movement conventions aside for his other symphonies, MOST of *this* symphony is upbeat. If anything, the second movement is more "out-of-place", but I do think it adds sombreness and slowness the rest of it lacks.
This is exceptional playing... the voicing in the second movement is perfect.
And the voicing in the third movement follows in kind... mind boggling.
The 2nd movement is such an amazing and fun piece to practice voicing and single-hand polyrhythms, especially with the right hand.
Katsaris is a genius !
Cyprien katsaris, Liszt and of course Beethoven all gave truly become immortal geniuses
Tip for playing the one-handed 3 against 4 polyrhythm in the second movement: play the second 16th note as a acciaccatura before the second triplet, the third 16th note right between the middle of the 2nd and 3rd triplets, and hit the last 16th note lightly right after hitting the last triplet.
Katsari's plays the allegro con brio more masterfully than anything I could imagine. I don't know if anyone will ever be able to match his recordings of the 7th and 9th beethoven/liszt transcriptions.
Newfound respect and admiration for him. He's a supreme technician, but also really understands the music.
Gould did this too.
No one will match the recordings of the 3rd
pure piano .pure music. pure beethoven .
Add note: pure liszt
pure symphony, pure Katsaris
@@CatkhosruShapurrjiFurabji ...yes but I don't get why he accelerates at the end the coda of 1st movement!
It might feel instinctive but you must keep the rhythm.
@@vittoriomarano8230 well, the question makes sense but you're asking the wrong person. Only Katsaris can answer that question as he chooses how to interpret the piece.
as a student of beethoven's line I say this is his best symphony... certainly it's my favourite.
Ludwig Van Beethoven - The Seventh Symphony in A major, Opus 92
00:00 Poco sostenuto - Vivace
14:47 Allegretto
24:09 Scherzo. Presto
31:37 Allegro con brio
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.” 😂
楽譜が付いているのが素晴らしいです。（It's wonderful that there is sheet music.）
The piano performance is exquisite.
La Sinfonía Nº 7 "es la apoteosis de la danza". Richard Wagner.
20:28 35:53
Questa trascrizione sembra proprio un sonata pianistica. Molto interessante
A symphony IS a sonata...for the orchestra. So why not!
5:43 I think he’s using the sostenuto pedal (the middle one) here to hold down the top A. I can’t see how else he’d play that with almost no right pedalling.
The 1st ever recorded use of the sostenuto pedal.
@@thenotsookayguy honestly you may be right.
What is a "piano reduction," I think you mean transcription for piano. Reduction sounds like simplification, Liszt's versions (transcriptions) are piano symphonies.
That second mov’t is some badass writing…best damn theme and variations this side of Kathmandu!
Always been my favorite .
これはありがたい。スコアを見るとき移調楽器やハ音記号に手間取り、和音構成をつかむのに時間がかかっていたが、その手間が省ける。
19:57 How do you play that? With the nose?
by combining the top of the bass part with the right hand
@moar cowbell you can use middle pedal
Amazing!
2楽章のバイオリンのオクターブの跳躍(ミ↑ミレ#)とか諦めたくないよなぁ(笑)
編曲者が簡単に捨て去ってるのにも驚きだけど、この人は弾ききってる。
第九の方も同じ様に、意地でも削るかっ！てとこ何箇所かあったし、カツァリスさんは絶対手がでかい。
26:51
Amazing
Thank you so much for this video!
36:07 Reminds me of the 4th movement of the ninth symphony. Maybe a coincidence, but interesting non the less.
Really nice! Thank you
Thanks 🙏🏻
3:57 vivace
21:02...🥰🥰🥰
Great music. Great performance.
Better than the original. I can hear the lower parts better and the harmonic subtleties are more evident. What I always took as noise becomes music.
Finally i learnt the allegretto
spectacular..
What a fun read!!
Marcel Simader... if you are lifting this music e.g. off the inter or youtube I am thinking it would be better to crwdit the performer... possibly Cyprien Katsaris?
Molto bella!
17:40 HOW
24:59
This guy might be the most macho pianist I know of. I mean, geez.
11:27
10:07
21:00 alegretto fugal passage
Good Lord throw the man a bone dub some applause in at the end of that..
Sublime.
リストのブルックナーとマーラー聞きたいw
06:26 vivace
Liszt probably went on a 23 year hiatus because who really wants to transcribe the 8th symphony? Especially compared to the 7th and 9th! Can't really blame him.
Haha, the 8th isn't my favorite either.
@@MarcelSimader it's nobody's favorite!
Did he transcribe the fourth? I couldn't really get into that one, maybe I don't understand something. But I find the 8th charming.
@@WesCoastPiano i find it very refreshing and new when compared to Beethoven’s other symphonies it really different and not quite that dramatic
The 8th ain't that bad, i listen it from time to time, not that revolutionary but still kinda pleasant
Tuning: 20 cents sharp, A4 = 445.1
Casi mejor que el original.
great bvidoe s
Vivace 6:26 (Bookmarking for myself)
Presto 24:09
Wasnt Wagner Liszts son in law?
Yes
yea bulow married cosima first, then wagner
@@mcig98 Bülow married Wagner? Was he still married to Cosima as well? Interesting situation.
@@grafplaten Haha
4:00
5:43
37:19
is it an A-flat that sounds on left hand instead of an A ?
@Random Shitposter c
h no b or c
@𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙𒈙.
Can someone explain to me how the passage from 19:57 onwards is possible
You don't play those chords and the melody with the left hand. You only play the bass chords with your left hand. The melody and the accompanying arpeggiated chords are played with the right hand.
The melody is played with the right thumb. As for the notorious one-hand 3 against 4 polyrhythms, I play the second 16th note as a acciaccatura before the second triplet, the third 16th note right during the middle of the 2nd and 3rd triplets, and the last 16th note is played lightly right after I hit the last triplet.
6:28
3rd movement should be a bit faster ideally.
33:11 38:10
Masterful performance! Is is blasphemous to feel the symphony is too indulgent for its own good. Its duration could express its content in half the time it took Beethoven and be better for it. I would not voice that opinion about any other of the master's symphonies.
It's a fair opinion to have, but not one I share at all. Maybe the Scherzo could stand not to repeat itself and the trio that extra time, but honestly I don't know what else one would - or could - cut.
I am thinking of the high speed we live and expect today. My younger students have no reverence for a work composed centuries ago. Either does the general public. Few can stay still to listen anymore. Your intelligent response was welcomed.
@@stevehinnenkamp5625 I don't know what the solugion for a lack of attention is, regarding music, but I'd say cutting it up so that it no longer makes sense structurally probably isn't the solution lol.
If a piece is well-structured, then, as long as it can gain your attention in the first, it will probably keep it.
❤️
The piano is out of tune but the playing is amazing
Actually, I like the out of tune.
It sounds like a historic tuning to me. Modern equal temperament wasn't a thing until around the late 19th to early 20th century (And no, Bach's well tempered was not equal temperament either, it was just a departure from meantone temperaments from before). Before that, tunings went toward pure thirds for chords with less accidentals, and thus less pure for chords with more accidentals. The result is that different keys actually sounded different, and composers like Beethoven chose keys to enhance the color of a piece - keys like C were tranquil, keys like D lively (Incidentally, the key of e-minor is one where the character changed greatly between meantone and well tempered), and keys with a lot of accidentals were full of tension.
@@Keldor314 Interesting. I have a Roland digital at home, maybe I'll mess with the tuning settings.
I don’t hear anything different am I dumb
@@herobrine1847 The ability to tell that kind of stuff varies a lot from person to person. Also depends on how much you've trained your ear
物理的に弾けるの？
빈다 비어.....
E' Beethoven o Liszt?
At the time, pianos were not strong enough for Liszt, and the piano makers rapidly improved on the quality of the instrument. And when Liszt finally got a strong piano in front of him, he thought: “hm… now I can rock Beethoven’s symphonies all by myself.”
e cosa direbbe Beethoven? :)@@weixiong1.0
@@maxicaas Yes, Beethoven!
First section is a bit too dry the staccato should be separated but with pedal or else’s you loose the length of the whole phrase and it gets broken up
3 часть могла быть немного быстрее.
What if Beethoven's music lost all of its passion and drive?
Liszt: Hold my beer
What if you weren't so negative.
@@p-y8210 Well, I'm inclined to feel the same...
Beethoven knew pretty well how to write a piano sonata, but in this case, he chose to write a symphony.
what if a human lost his brain cells
Raff365: hold my beer
@@guii8993 HAHAHAAHAHAHAHAHAHAHAHA
I hear a lot of passion, drive, and excitement in this Liszt transcription though, so I don't know what your problem is, really.
fella did his theme work with his head smooshed down on the keyboard,all hearing but for bass vibrations,,gone,remarkable,,,,, ehhm you too franz and you fan squeeze countess belgioioso, ( she dressed like elvira) bet she loved listening to his work
Ok
Ok
kid
My opinion? Too brillant attack! The Life-cheering Carnivalstile of Beethoven is been autopsied by a chirurgic scalpell. This record makes no fun. It scares and is only to adorate the piano-engine called Cyprien version 1.35
not a single person asked
Meaningless twaddle.
E
This writes like artificially intelligent, except for the intelligent part.
At least this isn't nearly as bad as Liszt's transcription of the 8th symphony.
@Luke Lucas And Liszt takes that definition to a whole new level
Is there another transcription you prefer? I’d like to compare.
A not credible analysis. You're redefining 'bad' as in, 'not according to your rigid prejudices, perhaps?
@@nickjgunning in terms of difficulty
Glad you made that clear. Liszt's intention, though not stated in the same words, was to democratise serious music. He trained hundreds of pianists who would then do solo recitals including these symphonies. Bear in mind that in his day, ordinary people might hear a Beethoven symphony once in a lifetime- but they could hear the transcriptions often even in towns that didn't have a symphony orchestra. Liszt died a couple of years before even the most primitive of recording media was available.
リストの編曲はすごくうるさいですね。あまり好きではないです。
What??? You clearly haven't heard the original? Sorry if the preforms interrupted your conversation but these 'arrangements' were designed to be listened to.
14:48
16:34