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In 1843, Franz Liszt made the handsome gesture of absorbing the costs for a monument to Beethoven in Bonn. The spiritual affinity he felt for Beethoven also moved this great piano virtuoso to pay an even finer tribute, a superlative set of piano transcriptions of the master's nine symphonies. This volume contains the first five of these works, reproduced from the original plates authorized by Liszt himself.Liszt's brilliant transcriptions enabled nineteenth-century audiences and amateur pianists to become acquainted with Beethoven's works even when no orchestras were available. Indeed, the great pianist's capacity for translating orchestral effects into pianistic terms was nothing short of astonishing.Today, through Liszt's remarkable ability to re-create orchestral fabric at the keyboard, pianists are able to experience all the beauty, drama, and poetry pervading these five great works. A memorable tribute from one musical genius to another, these compositions will delight pianists and music lovers alike.

In 1843, Franz Liszt made the handsome gesture of absorbing the costs for a monument to Beethoven in Bonn. The spiritual affinity he felt for Beethoven also moved this great piano virtuoso to pay an even finer tribute, a superlative set of piano transcriptions of the master's nine symphonies. This volume contains the first five of these works, reproduced from the original plates authorized by Liszt himself.Liszt's brilliant transcriptions enabled nineteenth-century audiences and amateur pianists to become acquainted with Beethoven's works even when no orchestras were available. Indeed, the great pianist's capacity for translating orchestral effects into pianistic terms was nothing short of astonishing.Today, through Liszt's remarkable ability to re-create orchestral fabric at the keyboard, pianists are able to experience all the beauty, drama, and poetry pervading these five great works. A memorable tribute from one musical genius to another, these compositions will delight pianists and music lovers alike.

This release is the first volume in the DOREMI series of Theo Olof recordings. Theo Olof was born in Bonn, Germany on May 5, 1924. The family fled Nazi Germany in 1933 and settled in Holland. At age 11, young Theo made a solo appearance with the Concertgebouw Orchestra under Bruno Walter. In 1951 he became a prizewinner of the International Queen Elisabeth Violin Competition in Brussels and was appointed as co-leader of the Hague Philharmonic Orchestra. From 1974 and until 1985, he was the leade

Contents: 1. Thus knocks Fate at the door (again, and again, and again) -- 2. Beethoven's first, forgotten masterpiece -- 3. Beginnings in Bonn -- 4. From the Rhine to the Danube -- 5. Beethoven in Clavierland -- 6. Finding his way -- 7. The youthful abundance -- 8. Early maturity -- 9. Evolution and convolution -- 10. Bringing in the harvest -- 11. The last of the crop -- 12. Toward a world apart -- 13. The sacred Mass, and the secular -- 14. Late Beethoven, and last -- 15. The sum of the totals.

Excerpt from Johannes Brahms im Briefwechsel mit Joseph Joachim, Vol. 2 Huber fortgupflegen: flbenn ia) eß beim Rönig buubie3en tourt, meine 1e (hie auf 5wei Saba bier Rontmtt bat) fcbon (c)nbe sdiät3 non bet $iibne Io 3utöfen, fo wollen wir bonn heiraten unb nad; Stulica. (c)ebt Daß inbeß nicht, in muß ich mid; bi3 Suni gebutben' mo $ioten fie frei3ugeben verfpwcben bat, unb bonn werben mit: wobt am 9tbein beimten, mtb nachber in hie @@weig reifen. 8ebenfallß müfien wir uns wo treffen; id) Ianu'ß nicht erwarten, bafi 91: meine llrfi ("8'täutein 2ima[ie 28eiß. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.