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Ludwig Van Beethoven (1770-1827) Arr Ludwig van Beethoven arr. Carl Czerny Symphonies 1 & 5 Vicky Yannoula George-Emmanuel Lazaridis piano duet RES10151 Ludwig van Beethoven (1770-1827) arr. Carl Czerny (1791-1857) Symphonies 1 & 5 Ludwig van Beethoven arr. for piano duet by Carl Czerny Symphony No. 1 in C major, Op. 21 Vicky Yannoula 1. Adagio molto – Allegro con brio [10:25] 2. Andante cantabile con moto [8:20] George-Emmanuel Lazaridis 3. Menuetto & Trio: Allegro molto e vivace [4:19] 4. Adagio – Allegro molto e vivace [6:08] piano duet Symphony No. 5 in C minor, Op. 67 5. Allegro con brio [7:28] 6. Andante con moto [8:58] 7. Allegro [5:31] 8. Allegro – Presto [11:46] Total playing time [63:02] About George-Emmanuel Lazaridis: ‘As each mesmerising episode unfolds, the listener is compelled along by the sheer force of Lazaridis's artistic personality.’ world premiere recordings Classic FM Magazine About Vicky Yannoula: ‘[...] with an excellent performance and recording the work [Shostakovich Symphony No. 9 for piano duet] takes on an entirely new life in this setting’ MusicWeb International Ludwig van Beethoven arr. Carl Czerny advertisement of the symphonies is, I Symphonies 1 & 5 believe, quite good, and the trust that I was always pleased to receive from In October 1829, the publication of the Beethoven, giving me quite a few complete Beethoven symphonies commissions of this kind, allows me arranged for piano four-hands by to approve here those words, which he Carl Czerny (1792-1857) was really said to me’. advertised in the Allgemeine musikalische Zeitung of Leipzig. The Czerny was about ten years old when he set was published by Heinrich first met Beethoven who, after being Albert Probst and the advertisement impressed by hearing the young prodigy’s appeared as follows: playing, decided to accept him as a student. For the first ten years, their relationship Herr Carl Czerny, long famous as a composer, enjoyed Beethoven’s trust was that of a pupil towards his master. to such an extent that for arrangements, However, it is evident through the surviving the latter usually notified him of his letters between the two men that in later compositions, and Beethoven approved years their relationship evolved into one of every little liberty required by the of deepest friendship and admiration for characteristic qualities of the pianoforte each other’s artistry and professional compared with those of the orchestra, as if he had indicated them himself. ‘What standing. Beethoven often asked Czerny you deem good to change is quite alright to give the first performance of a number with me’, B. told Herr Czerny personally. of his compositions, entrusted him with So Beethoven was after all of the the instruction of his nephew Karl in opinion that one should keep in mind piano playing, and asked him to act as the expression of the composition, and an assistant by proofreading his published that an extract from the score that is nothing but completely slavish … is works. inappropriate. And Herr Czerny has accordingly entered into Beethoven’s Symphony No. 1 in C major, Op. 21 spirit with these views, and has adapted those giant works to the complete range Beethoven arrived in Vienna from Bonn in of our new pianofortes. 1792, and by 1800 he had already shown Two months before the advertisement was dramatic accomplishments through his Ludwig van Beethoven (1820) by Joseph Karl Stieler (1781-1858) made public, Czerny wrote to Probst: ‘The innovative approach to the piano sonata, piano concerto and string quartet. It was ‘Menuetto & Trio’ gives this movement the not until April 1800 that his First Symphony, freshness and agility characteristic of a the first in a mighty series that re-defined scherzo. The ‘Finale’ opens with a humorous symphonic dimensions, was performed scalar figure that forms the basis for much of in Vienna and went on to gain widespread the ‘Allegro molto e vivace’, a movement full popularity. Based on models of Haydn of spirit and excitement that underlines and Mozart, the first movement begins Beethoven’s debt to Haydn. with a twelve-bar slow introduction of which the first two chords appear Symphony No. 5 in C minor, Op. 67 to be in the ‘wrong’ key of F major. This harmonic experiment seemed to please The prodigious originality and astonishing Beethoven as he used it in the overture power of the Fifth Symphony made of his ballet Die Geschöpfe des Prometheus Beethoven widely known outside Vienna, and the Piano Sonata Op. 31, No. 3 with the ‘fate’ motif of the opening becoming composed in the following two years. the composer’s trademark. Berlioz wrote The ‘Allegro’ that succeeds the twelve-bar that in this work ‘Beethoven gives free ‘Adagio molto’ clearly establishes the key scope to his vast imagination; without of C major. As the movement progresses, electing to be either guided or supported a more lyrical second subject appears in by any outside thought’. Beethoven the dominant key confirming the composer’s composed his Fifth Symphony at the attachment to the sonata form tradition. same time as the Sixth (‘Pastoral’), with Imitative progressions in the development both symphonies receiving their premiere section lead to a shortened recapitulation at the same concert in December 1808. and to a coda which concludes the The four-note ‘fate’ motif of the Fifth’s movement with strong repeated chords ‘Allegro con brio’ is the defining element of played by the whole orchestra, a the entire work. Its dramatic, noble and characteristic that became prominent mysterious appearance in all four in later Beethoven. The ‘Andante cantabile movements unites the work as it drives con moto’ is full of charm, beauty as well to an ecstatic resolution in the mighty coda as humour, and features a soft drum of the ‘Finale’. The warm and lyrical ‘Andante passage that foreshadows Beethoven’s con moto’, presented in variation structure, startling use of the drums in subsequent seems to be possessed by a profound works. The increased speed of the sadness filled with unspeakable emotion. And the movement that follows, an ‘Allegro’ the Leonore for the piano: ‘To his [Beethoven’s] of another composer’s music that Cocks’ Musical Miscellany: ‘Carl Czerny, constructed in the form of a scherzo with comments during this job I owe the skill in Czerny undertakes the arranging of the his [Beethoven’s] friend and pupil, is almost a contrasting trio, features a magical arranging which was later so useful to me’. symphonies for the piano. There is a the only surviving link to connect the passage where we find ourselves sense in which a good arrangement by memory of Beethoven with the existing mysteriously and uninterruptedly Czerny produced a vast number of works an intelligent artist makes it possible world. Himself a musician of high transported into the triumphant C major and in almost every form, not to mention to experience two genres at the same pretensions and exhaustless industry, he ‘Finale’ led by a towering burst of the whole the profound magnitude of his didactic time. The new light such an arrangement is well qualified to estimate and to record orchestra. The symphony races to the end piano literature which every aspiring brings can serve to enhance our the character of the man at whose feet he with a ‘Presto’ section that incorporates young pianist is very much familiar with. appreciation and understanding of sat’. Besides, according to Czerny’s own extensive cadential material, grounding Chapters II and III of the fourth part of the original composition. Czerny masterfully statement he ‘was almost always present and resolving the tension built throughout Czerny’s Pianoforte School, Op. 500 manages to maintain the distinct at the performances conducted by this extraordinary work. published in 1842 are a source of characteristics of the works he is Beethoven himself since the beginning invaluable insight to ‘the correct arranging while dealing with the demands of the [nineteenth] century and also sometimes The Piano Transcriptions performance of all of Beethoven’s of a new medium. He surpasses attended the rehearsals that preceded them’. works for the pianoforte’ and proof of expectations and produces a result Czerny, then, significantly contributed to A very large number of chamber music the commitment of the composer’s that is immensely powerful and beautiful. the popularisation of his master’s nine arrangements of the Beethoven faithful student to honour and campaign He uses the extensive range of expressive symphonies through the piano four-hands symphonies appeared in the nineteenth for his master’s legacy. In the second sonorities of the piano to articulate the medium, and it is perhaps unsurprising that century, with some thirty-one for the chapter, Czerny writes that ‘[in] the different orchestral sounds; simultaneously, he considered his ability to convey piano alone (ranging from two-pianos performance of his works […] the player he grants the pianists space to explore Beethoven’s artistic intentions to be eight-hands to one-piano two-hands). must by no means allow himself to the sounds of the piano with recognition unsurpassed by his contemporaries. Possibly the best known are the alter the composition, not to make of the instrumentation in the orchestral transcriptions for piano solo, including any addition or abbreviation. In those score. Pedalling is of critical importance © 2015 Vicky Yannoula an additional of the ninth for two pianos, pianoforte pieces also, which were and must be carefully thought through by Franz Liszt, Czerny’s pupil. In 1805 and written for the five octave instruments and calculated. Czerny wrote that upon the composer’s request, Czerny of former times, the attempt to employ ‘Beethoven made frequent use of the began arranging Beethoven’s opera the sixth octave, by means of additions, pedals, much more frequent than is Leonore (renamed Fidelio) for the piano.
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