Beethoven/Liszt – Symphony no. 9, transcribed for 2 pianos, S. 657 (McCawley/Wass)

00:00 - I. Allegro ma non troppo e un poco maestoso 13:39 - II. Molto vivace 27:05 - III. Adagio molto e cantabile 39:10 - IV. Finale: Presto After having transcribed for solo piano the first eight of Beethoven’s symphonies and all but the last movement of the Ninth, an exhausted Franz Liszt could not find a way forward. In an unusual display of resignation, the great Master outright refused to transcribe the Finale of Beethoven’s final symphony (his publishers would later convince him otherwise). At the end of the third movement one can find the following sentence in Liszt’s manuscript: “Von dem 4ten Satz der 9ten Sinfonie ist eine Bearbeitung für 2 Pianoforte von F. Liszt erschienen.“ (An arrangement by F. Liszt of the 4th movement of the 9th Symphony for 2 pianos has previously been published.) More than a decade earlier, in 1852, Liszt completed his 2-piano transcription of Beethoven’s Ninth; it would be published by Schott a year later. Prior to this, he had transcribed the 5th, 6th, and 7th Symphonies for solo piano (before 1840). Perhaps, by virtue of his high reverence for Ludwig van Beethoven, he had foreseen that he will eventually transcribe the entire cycle and, before anything else, set to work on the one that he is certain cannot be rendered effectively on one piano. It goes without saying that Liszt is a master transcriber in all respects. While his transcription for solo piano is nothing short of genius, this version is indubitably more capable of bringing out the force of an entire orchestra. Nearly every single detail is squished out here; and for all the piano’s nakedness one can hear everything. Liszt maintains extraordinary fidelity to Beethoven’s score, for wherever Beethoven wrote “f“, so did he, and wherever articulation or dynamics were seemingly arbitrary, he still followed them; these are not characteristics of the later solo transcription. Leon McCawley and Ashley Wass have brought forth a powerful, driving performance that does justice both to Beethoven’s immortal symphony and to Liszt’s insightful transcription. It is significant to note that their tempo choices are quite brisk compared to traditional practice. Of particular note are the fleet-footed trio and the HIP-like tempo of the slow movement, both more closely in line with Beethoven’s own metronome marks. I need not go on further about the recording and shall let it speak for itself. Performers: Leon McCawley & Ashley Wass Score: Engraved and edited by me, will be released to IMSLP at a later time. You may report errors if you find any.