Liszt: Beethoven Symphonies Nos. 1 And 3

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FRANZ LISZT (1811-1886)Complete Piano Music * Volume 18Piano Transcriptions ofBeethoven’s Symphonies (S464/R128)Konstantin ScherbakovSymphony No.1 in C major, Op.21[1] Adagio molto – Allegro con brio[2] Andante cantabile con moto[3] Menuetto: Allegro molto e vivace[4] Adagio - Allegro molto e vivaceSymphony No.3 in E flat major, Op.55 (Eroica)[5] Allegro con brio[6] Marcia funebre: Adagio assai [7] Scherzo: Allegro vivace[8] Finale: Allegro molto Franz Liszt (1811-1886)Piano Transcriptions of Beethoven’s Symphonies (S464/R128)Symphony No.1 in C major, Op.21 * Symphony No.3 in E flat major, Op.55 (Eroica)\Sgambati continues admirably and crescendo. Here is the programme of the first Symphonic Academy at the Dante Gallery, with the Eroica Symphony. It is the first time that this great work has been performed in Rome, and remarkably well, I assure you. It will soon be performed again and gradually the other symphonies of Beethoven will be heard.Franz Liszt. Letter to Sándor von Bertha. Rome, 16th December 1866Born 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 Pri