Beethoven, Ludwig van - Symphonies Nos. 4 & 5 (arr. Piano by F. Liszt) - Biret, Idil (piano)
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Symfonier nr 4 & 5: ”Ödessymfonin”
”Så bultar ödet på människans dörr” lär Beethoven ha sagt om de inledande ackorden i sin femte symfoni. Under andra världskriget fick de en ny betydelse som symbol för motstånd mot förtrycket. I morsealfabetet gäller ju tre korta och en lång för bokstaven ”V”, som kom att stå för ”Victory”. En användning som Beethoven själv säkert hade gillat, frihetsälskare av rang som han ju var.
"Transcriptions are without doubt the only musical works where an interpreter can introduce modifications to the score that are seen necessary to achieve a better understanding of the original. In my interpretations I have followed Liszt's admirable text as closely as possible. Nevertheless, certain changes seemed desirable. For example, some chords when held by the orchestra do not stop vibrating. Yet, on the piano the sound of a chord fades unavoidably after a moment. So, it was necessary to create the illusion of continuous sound. The only way for me to be able to do this was to add a group of notes already contained in the chord which, when played pianissimo, gave this impression. Another example can be found in the Ninth Symphony where the problems are greater because Liszt often tends here to 'suggest' rather than literally transcribe Beethoven's score. In certain passages Liszt's 'suggestions' thus had to be further interpreted. In performing this symphony I often superimposed Liszt's text and 'ossias' which, when played together, produced a better orchestral impression."
(Idil Biret)