Was he ever profoundly deaf? His tinnitus was overwhelming but he was still able to hear liszt play to him in 1823/4 and compliment him. Given his temperament he was possibly more deaf to some visitors than to others.
@@nickjgunningHis hearing is definitely very weak, but he mostly still knew what his music sounded like. Ofc him hearing it clearly in the afterlife will definitely pleasure him.
He would have had to live to 95 to be around for these. I'm pretty sure even if his liver, kidneys, and pancreas weren't absolutely fucked and he hadn't consistently poisoned himself with heavy metals he would not have lived that long
I love these vidoes that feature the score and the music. Really helps you notice melodies and intricacies you'd otherwise overlook. Thank you so much!
Utterly magnificent. It meant that many more places without access to orchestras could hear Beethoven's music. I wonder when Liszt ever did sleep - composing, performing, teaching, transcribing. Lots of Schubert's music who he regarded as the most lyrical of all composers.
Katsaris himself has said so in several interviews. One of them for the website The Counterpoints. An interview from Jan 04 2012. To quote from Katsaris himself "And it was a big problem for me because I had to find new pianistic solutions for this. I should have actually written Beethoven-Liszt-Katsaris, but I didn’t do it because I wanted to pay my respect to Liszt. " Basically he didn't feel worthy of putting his name next to the other composers. Which is absurd, if you worked on the arrangement then you need to put your name in it. Specially when the result is as great as it was.
@@applejuices He felt that he isn’t worthy putting his name up there with Beethoven and Liszt. Even tho he actually did a very good job (Im sure Liszt loved it listening to the version in heaven).
They're transcriptions, not reductions. Those who say the pianist adds bits to the published liszt score don't seem to realise that he too would have embellished the score while paying. The 1860s published scores probably were considerably edited. Part of Liszt's aim seems to be to get these masterpieces to live audiences, not in some great nobleman's house but in a public hall. Many would probably not get to hear an orchestral performance of the symphony in a lifetime. He trained many pianists to high standards, but the score had to be playable by a large range of performers, hence the many ossias. Beethoven's attitude to 'accuracy' with a score was simply that the spirit of the music and the player's interpretation was paramount. He owned one of the first metronomes, for example, but is never known to have used it.
Нет,друзья,что не говорите,но Симфония номер 5 это просто самое шедовральное произведение в Мире!!! Такая масса эмоций в одном произведении. Это диалог ,мощный спор и переубеждение одного человека другим. Логика и сила побеждает неадекватность ,скольжение, переобувание в воздухе,абстрактность , поверхностность,отвлеченность , романтизм и прочие несостоятельные доводы! И это так чутко выразить в музыке! Бетховен гений на все времена,поцелованный Богом!
Litz es genial. Su admiración por Beethoven fue enorme. Cuando Litz tenía 11 años pudo conocerlo en vida y esa admiracion lo llevó a convertirse en su mas grande difusor y a llevar al piano sus sinfonías. Listz era un genio pero siempre admiró tambien al genio de Beethoven. El disfrute de esta adaptación es máxima. Absolutamente deliciosa. Saludos desde Colombia.
These Liszt arrangements of the Beethoven symhonies are amazing, and accomplish what I would have thought impossible, and each bar definitely reminds you of the orchestral version. And Cyprien Katsaris is a good pianist to have to play these, with his remarkable ability to differentiate simultaneous voices within a passage. But I notice quite a few places where what Cyprien Katsaris plays is different from what is written in the score. Did Liszt make more than one arrangement and could this account for the discrepancies? - or did Katsaris change it himself?
I mean there are parts where the score says you can play one of two things (3rd or 4th staff, I think). If I would play this I would have to change things too because my hands are too small.
Katsaris made his own changes, some voices were missing. If you understand French i think he said it in one of his interview 10 years ago on Radio Classique.
Katsaris definitely did a thorough score reading and added in some stuff that Liszt left out for whatever reason! He is closer to the original score than Liszt this way. And he consistently changed how the timpani were transcribed by putting it in the lowest octave for that nice resonant, rumbling and percussive sound
Sad thing is that he suffered more because, as conductor he was facing all that brassware while the performers had their backs to it. He was aware of the effect on his tinnitus. During the siege of Vienna, he lay on the floor in a cellar with his head covered in cushions to try and preserve hearing. He went right off Napoleon after that date!
One thing that I'm really noticing with this guy performing the symphonies is the things he adds to them that no one does. In here, for example, at 31:09, it sounds much more like what the orchestra's actually doing in the original than what I normally hear when other people perform Liszt's transcriptions. I'm wondering where that comes from. It's really quite remarkable, in a positive way.
Was Liszt a human or an alien? How a man single handedly do all these great works could be he never slept was he musicoholic? many questions to be answered
Again, it's not a 'reduction,' it's a 'transcription. ' A reduction is what you might take to a rehearsal, as for example, a score for a ballet rehearsal. A transcription aims to reproduce a much as possible of the original, complete with orchestrations etc. The published score is what a range of pianists can work on, what liszt and his favoured students actually played may have been far more like what we're getting here. An obvious intention was to effectively democratise classical music- the ordinary people might never hear a Beethoven symphony live- but with a cohort of highly trained pianists they could get much of the experience via a single performer. Obviously the published scores had to be available to pianists who hadn't been to the liszt academy, and to those with different physical strengths. Publishers in those days were reluctant to publish 'old' works, much less several different versions of the same work. There were also piano 'reductions' by the likes of Czerny and others.
I had to pause after the second movement because of the effect on my psyche. This transcription has shown me a perspective on this piece I simply could not have considered otherwise. I seemed to had entered into an otherworldly vista of spectacular subliminal colors. I experienced many “body auras” that I never had in all my many hearings of the orchestral original. Perhaps, Beethoven played this second movement a number of times himself and discovered this unique dimension beyond the sensual? This second movement was so philosophical sweet and tender in the quiet moments; almost to tears. This is so very unusual for me I feel it might be from a parallel universe? I know this description might seem somewhat bizarre but this is what I heard and felt. It was truly wonderful! PWG. P.S. As for the finale; it sounded like what goes on in nuclear fusion? I suppose?
Does anyone else think the first movement is played a bit too fast? And the tempos on the others seem off too. Sometimes painfully slow. Not sure why these choices. Is this related to the old debate on how the tempi were calibrated in the 19th C.? Although old Ludwig sure was brilliant, no?
Beethoven was naturally brilliant, and it is possible for the performer to make errors in terms of interpretation. Katsaris I believe did go a little odd on the tempo, and personally I prefer gould's version overall, but as gould has said, "If you are going to play a piece the same as everyone else, why play it at all" so eh creative freedom ig
@@combinationova did Gould ever actually say that? I was going to use that in a paper but after some research nothing popped up… but the quote sound fimiliar
I commented on another B-L symphony post that use of the word reduction sounds demeaning to me....as if you are creating a simplification or sort of easy child'z version .... surely nor the case in th List transcriptions of the nine Beethoven Symphonies. Perhaps it is a British or EuropeN custom to call it a "reduction."
@@ashiapmanman Thank you for answer. I thought that at first, but also i was wondering if this piece was also another reduction to make it easier to play.
@@pianista-mediocre it’s more than a pianist change (interpretation), it’s a wrong copy-cut with the second staff in the score because it seems to modulate (and we can hear it doesn’t, it’s a pedal in G) and suddenly… new staff, G major!
Agreed. While I think Katsaris's interpretations are by far the best, I actually disagree with a lot of Katsaris's tempo choices in this symphony specifically. The 2nd mvmt clearly says "con moto", doesn't it?!
The piece is very nicely played, but I'm struck by how much less power it has than the original. And what was that awful racket produced when he played tremolos in the bass in the first movement. I know there were pianos of Mozart's era that had a Janissary pedal (used in his Rondp alla turca), but I don't know what would produce that sound on a modern grand.
Very interesting to listen to and follow with the score but unfortunately I couldn't get past the opening. As performed, the tempo of the opening motto theme (played twice) is completely different to what follows. It turns the core idea of the symphony into some sort of rhetorical device which is sort of effectively pianistically but which makes no sense musically. Sorry.
I’m terribly afraid that I agree with you in toto. I would add that the beauty and lyricism of the final movement is utterly lost and probably through no fault of the pianist is “banged out” due I believe to the attempt to collapse the complexities into two hands.
@@crewelocoman5b161I wouldn’t say nonsense. Again, it is a entire symphony changed to a solo piano piece, so some things would definitely be miss out. But I would say he already did a great job playing what was intended. I had the same opinion as you at first, ngl, but after understand and analysing more, I do understand that his performance is out of my understanding.
The first movement is more or less exactly as fast as Beethoven demanded. It never ceases to amaze me that almost 40 years after there have been multiple recordings trying to be faithful to the metronome indications people still say: "Too fast". No it is not! Furtwängler is too slow. ;)
I don't think there's really something like the correct tempo. It's a part of the interpretation, some performances are slower and some are faster. The classical music is not meant to have a strictly defined, metronomic tempo. The standards in music have changed over the last 200 years and also the tempi that composers had in mind not always sound like the best choice.
Yes; Katsaris is well-known for making improvisational notes during recordings. I personally like it, but sometimes I think they ruin the essence of the original piece.
Das kann ich mir nicht anhören, grauenhafte Interpretation! Extrem zu schnell - Allegro heißt fröhlich, allegro con brio heißt allegro mit "Feuer" aber damit ist doch nicht das Tempo gemeint sondern der musikalische Ausdruck!!! - Bemerkenswert die spielerischen Fähigkeiten des Interpreten aber das musikalisch Empfinden bleibt leider im Hintergrund.
Alright Ima assume you are talking about the first movement, from what I read. The movement is played very well in my opinion. Also it is in fact in the correct tempo if you read correctly. If you are talking about interpreting the piece, I highly suggest you make a recording yourself before making criticism on someone’s personal expression, your words make completely no sense.
![[BAEMON NEWS 7] NEW ALBUM COMING IN](http://i.ytimg.com/vi/wtVeAPimOyo/mqdefault.jpg)
I love Liszt's orchestra to piano transcriptions! His Wagner and Verdi ones are fantastic too!
🍆🤏🏻
@@Spidermona What?
I’ll bet that if Beethoven had lived long enough and never lost his hearing-he would LOVE it.
Was he ever profoundly deaf? His tinnitus was overwhelming but he was still able to hear liszt play to him in 1823/4 and compliment him. Given his temperament he was possibly more deaf to some visitors than to others.
@@nickjgunningHis hearing is definitely very weak, but he mostly still knew what his music sounded like. Ofc him hearing it clearly in the afterlife will definitely pleasure him.
He would have had to live to 95 to be around for these. I'm pretty sure even if his liver, kidneys, and pancreas weren't absolutely fucked and he hadn't consistently poisoned himself with heavy metals he would not have lived that long
I love these vidoes that feature the score and the music. Really helps you notice melodies and intricacies you'd otherwise overlook. Thank you so much!
why
ok
Utterly magnificent. It meant that many more places without access to orchestras could hear Beethoven's music. I wonder when Liszt ever did sleep - composing, performing, teaching, transcribing. Lots of Schubert's music who he regarded as the most lyrical of all composers.
You know, given how much this is changed compared to Liszt's score, I feel this should be called Beethoven-Liszt-Katsaris
Truth!
Katsaris himself has said so in several interviews. One of them for the website The Counterpoints. An interview from Jan 04 2012.
To quote from Katsaris himself "And it was a big problem for me because I had to find new pianistic solutions for this. I should have actually written Beethoven-Liszt-Katsaris, but I didn’t do it because I wanted to pay my respect to Liszt. "
Basically he didn't feel worthy of putting his name next to the other composers.
Which is absurd, if you worked on the arrangement then you need to put your name in it. Specially when the result is as great as it was.
@@bitchslappedme What was a big problem for him?
@@applejuices He felt that he isn’t worthy putting his name up there with Beethoven and Liszt. Even tho he actually did a very good job (Im sure Liszt loved it listening to the version in heaven).
In a parallel universe this is another mad piano composition of liszt arranged by beethoven for full orchestra
Liszt b minor sonata or mephisto waltz would go crazy
@@giovannib27Liszt originally wrote Mephisto Waltz for orchestra
@@evilBreadD-jf9go huh! I didn't know that! I'll check it out
@@giovannib27 It's actually not that easy. He wrote it for piano solo and orchestra basically at the same time.
Movement 2 is so pretty on the piano!
Yes ! Especially "La Folia" in 15:12 !
hahaha the ending! I can definitely understand him not wanting to end it, I'm sure it was fun to write and play as well.
yes, beethoven sometimes didn't find an ending, that's a bit annoying
@@michaelreich2306 ñ
So interesting to have the hands crossing at the beginning of mvt. 2.
when i pay it i dont play at as a hand crossing cause why is written like that.
@@Montu-pc5gp To force the player to concentrate more on their phrasing, by giving the melody to the weaker hand.
@Quotenwagnerianer interesting. It makes sense but I think it looks werid
They're transcriptions, not reductions. Those who say the pianist adds bits to the published liszt score don't seem to realise that he too would have embellished the score while paying. The 1860s published scores probably were considerably edited. Part of Liszt's aim seems to be to get these masterpieces to live audiences, not in some great nobleman's house but in a public hall. Many would probably not get to hear an orchestral performance of the symphony in a lifetime. He trained many pianists to high standards, but the score had to be playable by a large range of performers, hence the many ossias. Beethoven's attitude to 'accuracy' with a score was simply that the spirit of the music and the player's interpretation was paramount. He owned one of the first metronomes, for example, but is never known to have used it.
Beethoven referred to the Metronome as “The instrument of the Devil 😈!” hahaha 😂
Нет,друзья,что не говорите,но Симфония номер 5 это просто самое шедовральное произведение в Мире!!! Такая масса эмоций в одном произведении. Это диалог ,мощный спор и переубеждение одного человека другим. Логика и сила побеждает неадекватность ,скольжение,
переобувание в воздухе,абстрактность ,
поверхностность,отвлеченность ,
романтизм и прочие несостоятельные доводы!
И это так чутко выразить в музыке! Бетховен гений на все времена,поцелованный Богом!
My favorite Sheet Music is Symphony 5( Beethoven). Thank you Marcel Simader🤩
Litz es genial. Su admiración por Beethoven fue enorme. Cuando Litz tenía 11 años pudo conocerlo en vida y esa admiracion lo llevó a convertirse en su mas grande difusor y a llevar al piano sus sinfonías. Listz era un genio pero siempre admiró tambien al genio de Beethoven. El disfrute de esta adaptación es máxima. Absolutamente deliciosa. Saludos desde Colombia.
Saw this performed live. There were points especially in the 1st and 4th movement where it seemed as though the roof was gonna fall.
the second movement is gold!
The part at around 15:59 is so good.😘👌
this is on my piano stand. I have three editions of the V for piano, plus another from the library, and Liszt sits under the fingers by far the best.
There is also a 4 hand edition full of sound!
@@michaelreich2306 Assuming you have friends
That is simply fantastic - thank for sharing.
Just had my first 2 hours on a piano and now my head explodes. :D
😂
Piano Redction されて簡素化されたスコアなのに、音を聴きながら譜面を眼で追いかけるだけでもう精一杯ですが、こういう音楽鑑賞の仕方も楽しいですね。素晴らしい編曲(と言っていいのかな？)を有り難うございます。
リストは偉大な編曲家
These Liszt arrangements of the Beethoven symhonies are amazing, and accomplish what I would have thought impossible, and each bar definitely reminds you of the orchestral version. And Cyprien Katsaris is a good pianist to have to play these, with his remarkable ability to differentiate simultaneous voices within a passage.
But I notice quite a few places where what Cyprien Katsaris plays is different from what is written in the score. Did Liszt make more than one arrangement and could this account for the discrepancies? - or did Katsaris change it himself?
I mean there are parts where the score says you can play one of two things (3rd or 4th staff, I think). If I would play this I would have to change things too because my hands are too small.
Katsaris made his own changes, some voices were missing. If you understand French i think he said it in one of his interview 10 years ago on Radio Classique.
Katsaris definitely did a thorough score reading and added in some stuff that Liszt left out for whatever reason! He is closer to the original score than Liszt this way.
And he consistently changed how the timpani were transcribed by putting it in the lowest octave for that nice resonant, rumbling and percussive sound
@@douwemusic She?
@@applejuices Oops, I definitely confuse him with a female Greek teacher of mine with a similar name sometimes 😅
unbelievably. Great transcription, superb Cyprien Katsaris. Especially the 4th movement. Thank you so much !
The first one is my FAVORITE!🫠🫠🫠
Edit: oh wow those low notes on 4:16😮😄
I love 3:32-3:41😊
@@ma_monna1450 Ikr? It sounds so nostalgic.
Katsaris has an ungodly technique, this piece sounds so damn good!
Super, bardzo mi się podobało !
La interpretación de Marcel, espectacular.
35:09 omg that is incredible lads
I really more enjoy the piano version than any orchestra version !
Far more possibility to put the contre chant in front !
"Let the performance begin!" -A conductor probably
25:32 sound's like the 3rd movement of mozart's 7th piano sonata.
I made a mistake; it's Sonata No.10, Mov.1 :)
Sad thing is that he suffered more because, as conductor he was facing all that brassware while the performers had their backs to it. He was aware of the effect on his tinnitus. During the siege of Vienna, he lay on the floor in a cellar with his head covered in cushions to try and preserve hearing. He went right off Napoleon after that date!
One thing that I'm really noticing with this guy performing the symphonies is the things he adds to them that no one does. In here, for example, at 31:09, it sounds much more like what the orchestra's actually doing in the original than what I normally hear when other people perform Liszt's transcriptions. I'm wondering where that comes from. It's really quite remarkable, in a positive way.
Yes, Cyprien Katsaris is quite remarkable for that, he does it in a lot of the pieces he plays !
25.18 - blood tingling!
THIRD MOVEMENT IS GLORIOUS.
For all the takt op fans that came here to enjoy this masterpiece I respect you all.
Was Liszt a human or an alien? How a man single handedly do all these great works could be he never slept was he musicoholic? many questions to be answered
Fantastic Music 🎶🎹👏
Wonderful piano sound, although I'm not a fan of these Beethoven symphony transcriptions..but I never realized that Katsaris was such this good..
Perfect music
Beethoven would have approved of this work...he loved Liszt as a child
Again, it's not a 'reduction,' it's a 'transcription. ' A reduction is what you might take to a rehearsal, as for example, a score for a ballet rehearsal. A transcription aims to reproduce a much as possible of the original, complete with orchestrations etc. The published score is what a range of pianists can work on, what liszt and his favoured students actually played may have been far more like what we're getting here. An obvious intention was to effectively democratise classical music- the ordinary people might never hear a Beethoven symphony live- but with a cohort of highly trained pianists they could get much of the experience via a single performer. Obviously the published scores had to be available to pianists who hadn't been to the liszt academy, and to those with different physical strengths. Publishers in those days were reluctant to publish 'old' works, much less several different versions of the same work. There were also piano 'reductions' by the likes of Czerny and others.
15:11
1st movement is my favortie
Same🫠🫠🫠
4th movement sounds like Waltz of the Flowers
15:10 ... heaven exists, indeed.
アルカンがペダルピアノでベートーヴェンの交響曲を編曲していたらその十分過ぎる功績功績でペダルピアノの存在をもっと知らしめていたであろう。
l should start practicing this
You already did though, didn't you?
@@cragetty-ragetty5673 no
@@cragetty-ragetty5673 Liszt needs no practice.
This looks more like some complex electrical circuit diagram...and I wasn't good at understanding them...Oh well! maybe I'll take up the triangle.
Incredible - I think I prefer it to the original!
I had to pause after the second movement because of the effect on my psyche. This transcription has shown me a perspective on this piece I simply could not have considered otherwise. I seemed to had entered into an otherworldly vista of spectacular subliminal colors. I experienced many “body auras” that I never had in all my many hearings of the orchestral original. Perhaps, Beethoven played this second movement a number of times himself and discovered this unique dimension beyond the sensual? This second movement was so philosophical sweet and tender in the quiet moments; almost to tears. This is so very unusual for me I feel it might be from a parallel universe? I know this description might seem somewhat bizarre but this is what I heard and felt. It was truly wonderful! PWG.
P.S. As for the finale; it sounded like what goes on in nuclear fusion? I suppose?
4th movement is the best
The Piano Reduction Score is much more easier to read cause all the orchestra parts are simplified down to just 2 staves
Fuck!! How did you work that out?
@@crewelocoman5b161 Liszt did it in a way that's both readable & playable.
Хочешь осуществить мечту детства! Приходи и все сбудется♥️♥️♥️🥰♥️
Super
I'll take the 4th over the 1st any day, but the 4th can't exist without the 1st
17:36
Just to play it,easy.You just practice the Piano 5year.But you wannna play it well,and understand the Suel, you need your life.
loveeeeeeeeeee you can😇😀
please can i have a sheet music ?
Try looking at IMSLP website.
Exelente!!!
❤️
Does anyone else think the first movement is played a bit too fast? And the tempos on the others seem off too. Sometimes painfully slow. Not sure why these choices. Is this related to the old debate on how the tempi were calibrated in the 19th C.?
Although old Ludwig sure was brilliant, no?
Beethoven was naturally brilliant, and it is possible for the performer to make errors in terms of interpretation. Katsaris I believe did go a little odd on the tempo, and personally I prefer gould's version overall, but as gould has said, "If you are going to play a piece the same as everyone else, why play it at all" so eh creative freedom ig
@@combinationova did Gould ever actually say that? I was going to use that in a paper but after some research nothing popped up… but the quote sound fimiliar
@@toocan6634 it's something I heard, but I don't know the exact origins. Nonetheless, I am a fan of it
@@combinationova well Katsaris is also brilliant so it's more interpretation than error probably
The first movement is definitely not played too fast. It's perfectly fine. The second and third are a bit slow though
I just discovered your videos, i don't understand, what do you mean with "reduction"?
this composition is originally an orchestra piece, this score is the arrangement/reduction of the orchestra version for solo piano by franz liszt
I commented on another B-L symphony post that use of the word reduction sounds demeaning to me....as if you are creating a simplification or sort of easy child'z version .... surely nor the case in th List transcriptions of the nine Beethoven Symphonies. Perhaps it is a British or EuropeN custom to call it a "reduction."
@@ashiapmanman Thank you for answer. I thought that at first, but also i was wondering if this piece was also another reduction to make it easier to play.
@@Pabloalexis97 this transcription is nowhere near easy lol
@@ashiapmanman e, I meant that, i thought it was a reduction of the original liszt reduction.
🎼💕37:15
8:49 ni yat yip zau hai fung min ge bou fan (this page is the cover part)
crazy！
Great playing. Not too keen when the music sounds more Liszt like than Beethoven
Well, it's on the piano though.
isn't even true
I think OP means orchestral reductions sound the best when played not as solo piano pieces
Well it is a Liszt arrangement…
@@JramLisztfan thats not an argument lol
リストのオリジナルの楽譜通りにカツアリスは演奏していませんよ。
Yes, adds a lot of stuff which in my opinion make it sound better.
What’s with the slow tempo in the final movement?
It's not that slow right?
15:12 la folia
34:57 Two bars too many.
That's an ossia, you can play the original or the one on top
ProdigyMath Pirate
Skyler Summerwhisper
WTF with the score 31:20 ?
The pianist made several changes to this Liszt transcription
@@pianista-mediocre it’s more than a pianist change (interpretation), it’s a wrong copy-cut with the second staff in the score because it seems to modulate (and we can hear it doesn’t, it’s a pedal in G) and suddenly… new staff, G major!
Interesting tempo…
Agreed. While I think Katsaris's interpretations are by far the best, I actually disagree with a lot of Katsaris's tempo choices in this symphony specifically. The 2nd mvmt clearly says "con moto", doesn't it?!
Ideally 4th movement should be faster.
The piece is very nicely played, but I'm struck by how much less power it has than the original. And what was that awful racket produced when he played tremolos in the bass in the first movement. I know there were pianos of Mozart's era that had a Janissary pedal (used in his Rondp alla turca), but I don't know what would produce that sound on a modern grand.
Pdf
25:10
25:18 You’ll thank me later. 😏
2nd movement and 3rd movement is too slow
Why is the scherzo played so excruciatingly slow? Sounds like a minuet!
Yeah, I agree that Movt. 2 is especially off, as others have mentioned.
That’s Katsaris for you.
Piano "Reduction"
La pubblicità nel bel mezzo del secondo movimento è pura blasfemia. Non si potrebbero evitare certe bestemmie?
No, since this recording is still under copyright, only TH-cam can choose when to put advertisements, and that is every 5 damn minutes.
Very interesting to listen to and follow with the score but unfortunately I couldn't get past the opening. As performed, the tempo of the opening motto theme (played twice) is completely different to what follows. It turns the core idea of the symphony into some sort of rhetorical device which is sort of effectively pianistically but which makes no sense musically. Sorry.
I’m terribly afraid that I agree with you in toto. I would add that the beauty and lyricism of the final movement is utterly lost and probably through no fault of the pianist is “banged out” due I believe to the attempt to collapse the complexities into two hands.
@@JDVol the final isn't even lyrical lol
Agreed. The pianist has made a nonesense of the piece.
@@crewelocoman5b161I wouldn’t say nonsense. Again, it is a entire symphony changed to a solo piano piece, so some things would definitely be miss out. But I would say he already did a great job playing what was intended. I had the same opinion as you at first, ngl, but after understand and analysing more, I do understand that his performance is out of my understanding.
@@predrop Nice one, so what you are saying is that it still makes no sense. 👌
the scherzo is too slow(except the C major part)
Super but I’m not ok with the tempi: 1st too fast
2nd too slow
3rd mvt also too slow ˊ_>ˋ
but you can turn speed up to 1.25 X it's much more appropriate
The first movement is more or less exactly as fast as Beethoven demanded. It never ceases to amaze me that almost 40 years after there have been multiple recordings trying to be faithful to the metronome indications people still say: "Too fast".
No it is not! Furtwängler is too slow. ;)
@@livestalkoriginal5543 You are totally correct. I don't know what Katsaris was thinking, but the tempi for that movement are totally off.
tempo is correct tbh
I don't think there's really something like the correct tempo. It's a part of the interpretation, some performances are slower and some are faster. The classical music is not meant to have a strictly defined, metronomic tempo. The standards in music have changed over the last 200 years and also the tempi that composers had in mind not always sound like the best choice.
0:34 those played notes are not written !
Yes; Katsaris is well-known for making improvisational notes during recordings. I personally like it, but sometimes I think they ruin the essence of the original piece.
@@19thCenturyGuy I genuinely like this couple of notes. I didn’t know this was a thing from the performer. Thank you for telling me !
Yo chill out with those tremolos smh
This transcription is a torture on the instrument.
That’s a lot notes and piano playing but very little music.
Beethoven symphony not being music, now there's a take I haven't heard before 😂
@@composerjalen I’m afraid you have not understood my comment. I was talking about the performance.
what is a good performance of this piece for you?
@@gretareinarsson7461 Hm, I hear a lot of music. For about 37 minutes, I hear non stop beautiful music. Sadly, you cannot hear the beauty like I do.
@@EntelSidious_gamzeylmz It’s difficult to explain a good performance. One of the things it should have is music “beyond” the notes and note values.
Das kann ich mir nicht anhören, grauenhafte Interpretation! Extrem zu schnell - Allegro heißt fröhlich, allegro con brio heißt allegro mit "Feuer" aber damit ist doch nicht das Tempo gemeint sondern der musikalische Ausdruck!!! - Bemerkenswert die spielerischen Fähigkeiten des Interpreten aber das musikalisch Empfinden bleibt leider im Hintergrund.
Alright Ima assume you are talking about the first movement, from what I read. The movement is played very well in my opinion. Also it is in fact in the correct tempo if you read correctly. If you are talking about interpreting the piece, I highly suggest you make a recording yourself before making criticism on someone’s personal expression, your words make completely no sense.
fake recording... thanks
Why? It’s absolutely real!
I'm extremely curious as to what you mean by this
@@gabelonguinhos Don't care about him he's a troll
ok
Kid
36:41