Sonatas – Opus 10, No.3 Opus 57 “Appassionata”Symphony No.1, Opus 21

(Transcribed by Liszt)

Sonatas – Opus 10, No.3 Opus 57 “Appassionata”Symphony No.1, Opus 21

(Transcribed by Liszt)

Sonatas – Opus 10, No.3 Opus 57 “Appassionata”Symphony No.1, Opus 21

(Transcribed by Liszt)

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Ludwig van Beethoven (1823): Engraving after an Indian-ink drawing by Martin Tejcek made in Vienna.

EARL WILD: BEETHOVEN & BEETHOVEN/LISZT�

For us musicians, Beethoven’s work is like the pillar of cloud and fire which guided the Israelites through the desert – a pillar of cloud to guide us by day,

a pillar of fire to guide us by night, “so that we may progress both day and night.”– Franz Liszt, December 2nd, 1852, letter sent from Weimar to the

Imperial Russian Councillor of State, writer on music and Beethoven specialist, Wilhelm von Lenz in St. Petersburg, Russia.

Without a doubt, Beethoven altered the course of the history of piano music. As a resultof changing sociological conditions, and also because of his uncompromising attitude towardhis art, Beethoven was the first composer to write virtually all of his music to please himselfrather than a patron or employer. This was of particular importance in the case of the pianosonatas. The majority were composed when Beethoven was still performing in public. Sincehe was creating a new solo piano form which he intended to interpret himself, the only lim-its on his imagination were those imposed by his own highly developed technique of playing.

The importance which Beethoven attached to the piano sonatas is revealed in his use of afour-movement form for the first sonatas. Previously no solo piano work had had more thanthree movements, and in using the four-movement construction associated with the sym-phony, the quartet, and the trio, Beethoven pronounced that his sonatas were compositionsof prime importance, possessing a musical and dramatic conception equal to that of anymajor form. The fact that he did not later adhere to the four-movement structure did notindicate a change in his original idea. For Beethoven, choice of form and structure was inex-tricably related to creative freedom. The piano always was his most personal means of expres-sion, and he found that he preferred to use it without the restraint imposed by a set form,allowing musical ideas to determine the structure. Realizing that musical content, irrespectiveof the form within which it was contained, was the essential factor, Beethoven poured fortha wealth of material which put his sonatas far ahead of other piano music.

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- BEETHOVEN: Sonata No.7 in D Major, Op. 10, No.3About the time he reached forty Beethoven’s deafness compelled him to give up concer-

tizing. He also played less often in private. This less frequent use of the piano led to lessfrequent composition, a fact borne out by the chronology of the sonatas. Twenty of the thir-ty-two piano sonatas were composed between 1796 and 1802, three in 1804, three more in1809, and then it was five years before another appeared, after which the final five came outat intervals until 1822. The three sonatas of Opus 10 were published in 1798 with adedication to Countess von Browne, the wife of a Russian nobleman, to whom Beethovendedicated the Trios, Opus 9, as “his first Maecenas” (“Au premier Mécène de sa Muse lameilleure de ses oeuvres.”).

The third sonata of the Opus 10 set is one of the most interesting works of Beethoven’sso-called “first period”. It displays a mature individuality and grasp of form. The much-discussed “periods” of Beethoven do not, of course, fall into the tidy arrangements that theexpression might imply; a work from a given period frequently projects startling, unmistak-able premonition of a more mature style and, inversely, a major work of a later period oftensuggests a mellowed, almost nostalgic reflection of an earlier one. (The “Pathétique” Sonatais an example of the former, the Eighth Symphony an example of the latter.) But thethree-phase division in Beethoven’s music, if applied flexibly, is significantly reflected by thepiano sonatas. The sonatas of Opus 2, Opus 7, Opus 10 and Opus 22, represent Beethoven’sfirst, “youthful” period; here he was preoccupied with the devices of Haydn and Mozart,palpably restricted in tonal and formal range-yet, ever so often, straining the leash, foreshad-owing, until finally, in Opus 13, “the Pathétique,” we come upon a vastly enlarged formal andinstrumental design – a wide-ranged dramatic scope. The dynamism of the middle period ispresent in Opus 31, No. 2, “the Tempest,” in the “Appassionata,” Opus 57 and in the evoca-tive “Les Adieux,” Opus 81 – to mention only the more famous examples. Finally, there arethe last five sonatas, Opus 101-111, entirely different from all the others and, along with thelast quartets and the last sonatas for cello and piano, among the most searching and originalworks in all of music.

The group of themes constituting the first subject of the opening movement ofBeethoven’s Sonata No.7 in D Major, marked Presto, are all derived from the descendingscale of four notes in the first bar. To musicologist Donald Francis Tovey this opening“seems to spring out at us like a panther.” The musical ideas are simple enough, yet it issurprising how much interest and variety Beethoven manages to extract from them. In fact, this

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movement seems to have everything: integrated counterpoint, motivic unity, harmonic diver-sity, and an unfailing sense of purpose, prompting Tovey to comment that “it is a work thatclearly shows Beethoven as an artist with unlimited talent for composition.”

In the slow movement, Beethoven claimed in a 1823 letter to his friend Schindler, thatthe Largo e mesto, “portrayed the state of mind of a melancholic; together with all the manydegrees of light and shade there are in the picture of Melancholy.” Biographer, RomainRolland calls this movement “monumental” and goes on to say that “the soul of the listeneryields to the hand of the master... The sadness that speaks through the music is so full of hisstrength and of the laws of his destiny that it no longer seems the confidence of a single being:it is the Chorus of an antique tragedy.” Beethoven’s heading “largo e mesto” – “broadly andsadly” – indicate a power and concentration probably unequalled in keyboard writing sincesome of the mightier fugues of J.S. Bach. The Menuetto, marked Allegro, which follows isexquisitely graceful, upbeat and refined. It is full of musical subtleties, including the synco-pation which disguises the upbeat, and smooth fugato writing. According to Tovey, the finaleof the sonata “is one of the funniest things Beethoven ever wrote.” The main theme of therondo is built out of a rising figure of three notes repeated twice in the opening bars. Thehumor and resourcefulness with which the themes are handled makes the lively movement aworthy finale to this masterpiece among the early sonatas.

- BEETHOVEN: Sonata No.23 in F Minor, Op.57 (“Appassionata”)It was the Livonian writer Wilhelm von Lenz (1809-1883) who first popularized the idea

of dividing Beethoven’s music into three periods. The variances of his three celebrated “peri-ods” are as clearly defined as those of winter, spring and summer. The divisions Lenz maderequire, of course, a certain amount of qualification, but it is perfectly true that anyone whocompares the two piano sonatas recorded here, one coming in the “first period” and one in the“second”, cannot fail to he struck by their dissimilarity of style. In the “Appassionata” Sonatawe find the quintessence of “middle period” Beethoven, with those elements of romance andemotional expression, powerfully controlled, which have won the composer his enduringpopularity with concert audiences. The D major Sonata, Op. 10, No.3, was written some eightyears earlier. A marvelous work, it possesses many humorous and exuberant touches – indul-gences and excursions which Beethoven harnessed and controlled as he matured.

The Appassionata Sonata, was completed in 1806 and published the following year.Sketches of it as far back as 1804, indicate that in all probability it was a work which took a

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while to mature in Beethoven’s mind. The work was dedicated to Count Franz von Brunswick(1777-1849). He was the brother of Countess Therese von Brunswick (1775-1861) and ofJosephine von Deym (1779-1821). Beethoven was supposed to have been simultaneously inlove with both ladies at the time. The dedication, it is conjectured, was discreetly directed atthe sisters via the brother who won an unenvied reputation for the monastic manner in whichhe conducted his relations with women. As Romain Rolland, in his book Beethoven theCreator, relates “there is something comical in the fact that this piece of frigidity should havehad the honor of the dedication of the Appassionata...” Rolland provides elaborate details andanalysis of source documents relating to Beethoven’s romantic agitation over the two ladies.The publisher of the sonata, August Heinrich Cranz, struck by its emotional drive and inten-sity, gave it the subtitle by which it is most commonly known even today. The nickname,however, was never authorized by Beethoven himself.

Romain Rolland has called the Sonata in F Minor, Opus 57, the most truly characteristicof all his sonatas: “With the deep passionate note which sounds ceaselessly throughout thefirst movement and the immense vitality of the finale, the calm beauty of the andante and itsvariations, it holds the palm amongst all sonatas written for the clavier.” Beethoven’s biogra-pher Ludwig Nohl stated that this opus “is a true reflection of the impassioned language ofthe love-letters which all seem possessed by a feeling of melancholy.” But the sonata cannotbe ascribed as a musical counterpart of the love-letters, rather one arising from a violent emo-tional state portending overwhelming tragedy. Its opening movement is as complete andfar-reaching a drama as anything Beethoven had penned up to that time. It probes the depthsand touches the heights. A technical description of music like this should be reserved for thescholarly minded; it is the emotional implication that sustains the listener’s attention. Aspianist Alexander Kelberine so wisely wrote in his essay on Beethoven’s piano sonatas, “Yes,the Appassionata can be dissected, just like any of the other sonatas. But here the will to ana-lyze fails us. Yes, it is evident, that like so many of Beethoven’s themes, this one is also basedon a chord, that there are two thematic elements, the first in the tonic, the second in the dom-inant. But what of it? Does this tell us of the lowering clouds, the great sweep of sky and land,depicted with such a terrifying simplicity?”

All emotion and energy should by rights have been spent after the opening movementbut Beethoven’s inspiration does not wane as the immense vitality of the finale proves.Meantime, there is a respite – an interlude of rare loveliness and calm beauty – the andantewith its single, constrained theme from which four delicate yet ingenious variations are con-

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trived. The energy of the finale has not been inaptly compared to an unrestrained torrent; itis a thing of the elements. It is not surprising to learn “in the summer following the comple-tion of the Eroica, Beethoven walking one day with his friend Ries in Doebling, kept hum-ming all the time the finale of the Appassionata.” “ He was,” writes Romain Rolland, “achiev-ing a victory in his piano music analogous to that he had just won in his orchestral music.”

In this sonata’s opening movement and finale Beethoven’s spiritual power manifests itswonder. Though he musters great strength in both these movements, it is not for its own sake,for he knows when and how to contrast his dynamic energy with those equally wonderfuldiminuendo and pianissimo effects. While there is in his emotional turbulence a certain defi-ance, there is also a subdued mood, a conciliation or assuagement which in itself has equalpower. Alexander Kelberine concludes his essay as follows: “I will take Fate by the throat,Beethoven once said as a young man, and there is ample evidence in this sonata that he pro-ceeded to do so, never relaxing his grip.. With a force that seems utterly immune to any exter-nal influence, he drives on and on, and as we listen to the imperious or hushed sounds, webecome conscious of a profound inner personality that is unmistakably Beethoven’s. We findin these stirring pages Beethoven’s passionate realization of suffering, and his realization of theheroism of achievement having surmounted the suffering. Few men have ever equalled himin his capacity for understanding the structural elements of human life, and those of a humansoul, few have matched his infinite intuition. No artist has ever lived whose work conveys agreater strength, and a deeper inner force.”

- BEETHOVEN/LISZT: Symphony No.1 in C Major, Opus 21There is much legend propagated regarding Liszt’s meeting with Beethoven. If one sepa-

rates fact from fiction, what we know is that Liszt met Beethoven in Vienna, a day or twobefore Liszt’s concert at the small Imperial Redoutensaal on Sunday, April 13, 1823. The leg-end tells us that Beethoven attended the concert, at the conclusion of which, he stepped tothe platform, and warmly embracing the eleven-year-old, planted the so-called “Weihekuß”or “kiss of consecration,” wishing the young Liszt health, happiness and success. As proof ofthis event István Halász created a lithograph in 1873 depicting Beethoven’s supposed bene-diction. What we know today is that no such public display ever took place.

We know that Beethoven’s hearing loss progressed slowly but steadily until the age of 52(in 1822) when for all practical purposes Beethoven was totally deaf. In 1822, he attemptedto conduct a performance of his opera Fidelio but since he was unable to hear the singers or

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the orchestra, the rehearsal was discontin-ued in chaos and a friend convinced him togive up the idea of conducting the opera.There is no doubt that by the time he metLiszt, Beethoven’s deafness had becomeprofound. Despite this, he continued to

use ear trumpets and a wooden “drumstick”applied to his teeth to aid his hearing.

Additionally, in 1823 Beethoven developed a pro-longed, painful ophthalmic complaint which lasted

from April to the following January; photophobia (anabnormal sensitivity or intolerance to light) was apparently the

most prominent symptom. So, it is understandable that Beethovenwas unlikely to have attended a concert, and even less likely that he

would have reacted by approaching the performer or creating a public spectacle with the so-called “Weihekuß”.

According to Beethoven’s Conversation Books, which contain his written correspondencewith Anton Schindler, it appears that Liszt visited Beethoven the day before the concert, inorder to ask him for a theme, in a sealed envelope, which he could improvise at his concert.Beethoven did not provide the requested theme. Many years later, in 1875, Liszt gave the fol-lowing oral account (printed in many sources on Beethoven and Liszt, this English version isfrom Paul Nettl’s Beethoven Encyclopedia ) to his pupil Ilka Horowitz-Barnay, of his only meet-ing with Beethoven: “I was about eleven years of age when my venerated teacher Czerny, tookme to Beethoven. He had told the latter about me a long time before, and had begged himto listen to me play sometime. Yet Beethoven had such a repugnance to infant prodigies thathe had always violently objected to receiving me. Finally, however, he allowed himself to bepersuaded by the indefatigable Czerny, and in the end cried impatiently: ‘In God’s name,then, bring me the young Turk!’ It was ten o’clock in the morning when we entered thetwo small rooms in the Schwarz-spaniehaus [according to Alan Walker, Liszt made a mis-take on the address – in April 1823 Beethoven was living in an apartment on Kothgasseand Pfarrgasse] which Beethoven occupied; I somewhat shyly, Czerny amiably encourag-ing me. Beethoven was working at a long, narrow table by the window. He lookedgloomily at us for a time, said a few brief words to Czerny and remained silent when my

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Franz Liszt in a travelling coat. Lithograph by Josef Kriehuber (1838), based on a drawing dated May 27, 1838

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kind teacher beckoned me to the piano. I first played a short piece by Ries. When I hadfinished Beethoven asked me whether I could play a Bach fugue. I chose the C minor Fuguefrom the Well Tempered Clavichord. ‘And could you also transpose the Fugue at once intoanother key?’ Beethoven asked me. Fortunately I was able to do so. After my closing chord Iglanced up. The great Master’s darkly glowing gaze lay piercingly upon me. Yet suddenly agentle smile passed over the gloomy features, and Beethoven came quite close to me, stoopeddown, put his hand on my head, and stroked my hair several times. ‘A devil of a fellow,’ hewhispered, ‘a regular young Turk!’ Suddenly I felt quite brave. ‘May I play something of yoursnow?’ I boldly asked. Beethoven smiled and nodded. I played the first movement of the Cmajor Concerto. When I had concluded Beethoven caught hold of me with both hands,kissed me on the forehead and said gently: ‘Go! You are one of the fortunate ones! For youwill give joy and happiness to many other people! There is nothing better or finer!,” Liszt toldthe preceding in a tone of deepest emotion, with tears in his eyes, and a warm note of hap-piness sounded in the simple tale. For a brief space he was silent and then said: “This eventin my life has remained my greatest pride – the palladium of my whole career as an artist. Itell it but very seldom and – only to good friends!”

Without a doubt, Beethoven occupied a very important place in Liszt’s life. WhenBeethoven’s Broadwood piano was sold after his death, it was purchased by the Viennesemusic publisher, Carl Anton Spina for 181 florins. Spina gave the piano to Liszt, in whosehouse at Weimar it was up to his death. In 1887, Princess Marie Hohenlohe, daughter ofLiszt’s friend, the Princess Sayn-Wittgenstein, presented it to the National Museum inBudapest.

Liszt spent several months during the summer of 1837 with Marie d’Agoult at GeorgeSand’s Chateau Nohant. At the beginning of 1833 Liszt met Comtesse Marie d’Agoult. Shewas six years his senior and married to General Charles d’Agoult. In 1835 she left her hus-band and followed Liszt to Switzerland. Their sensational relationship lasted ten years andproduced three children, including Wagner’s second wife, Cosima. It was during the sum-mer of 1837 that Liszt worked intensively on his first piano transcriptions of Beethoven’ssymphonies. Symphonies Nos. 5 and 6 were published in 1840 by Breitkopf & Härtel witha dedication to the French painter and violinist Jean Dominique Ingres. Symphony No. 7was also published in 1840, but by Tobias Haslinger in Vienna. In a letter written to his pub-lisher, Breitkopf & Härtel, Liszt stated that “...the Beethoven Symphonies, of which I haveundertaken the arrangement, or, more correctly speaking, the pianoforte score. To tell the

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truth, this work has, nevertheless, cost me some trouble; whether I am right or wrong,I think it sufficiently different from, not to say superior to, those of the same kind which havehitherto appeared. The recent publication of the same Symphonies, arranged by Mr.Kalkbrenner, makes me anxious that mine should not remain any longer in a portfolio. Iintend also to finger them carefully, which, in addition to the indication of the differentinstruments (which is important in this kind of work), will most certainly make this editionmuch more complete.” These transcriptions and the others that were to follow were pioneer-ing achievements. They brought Beethoven’s scores to every home and pianistically broughtthe art of the “symphonic” transcription into a new era. During his years at Weimar (1848-1861), Liszt coped with an incredibly busy schedule, however, the Beethoven symphoniescontinued to occupy his mind and are mentioned regularly in his letters. Breitkopf & Härtelcontinued to ask Liszt to finish his transcriptions so that they could have a worthy counter-part to their excellent edition of the symphonies in full score. Liszt continued to have doubts:“How am I to imbue the empty hammers of the piano with breath and spirit, with sound andpower, with depth and solemnity, with color and accent? However, I shall try to eliminate atleast the most glaring faults and to give the piano-playing world as accurate a model ofBeethoven’s genius as I can.” By March 1864 Liszt had transcribed the other six symphonies,except for the choral finale of the Ninth, and thoroughly revised the earlier three. In 1865 hehad completed the task and Breitkopf & Härtel published the complete set with a dedicationto Hans von Bülow.

Although the piano can never possess the same powerful sound as an orchestra, it canemulate rather convincingly a symphonic work. These transcriptions by Liszt do not attemptto “mimic” an orchestra, but rather “recreate” the combined sound of the orchestral instru-ments in a pianistic tapestry. In his preface to the published scores, Liszt states: “With theimmense development of its harmonic power the piano seeks to appropriate more and moreall orchestral compositions. In the compass of its seven octaves it can, with but a few excep-tions, reproduce all traits, all combinations, all figurations of the most learned, of the deep-est tone-creations, and leaves to the orchestra no other advantages, than those of the varietyof tone-colors and massive effects – immense advantages, to be sure.” Liszt concludes: “Myaim has been attained if I stand on a level with the intelligent engraver, the conscientioustranslator, who comprehend the spirit of a work and thus contribute to the knowledge of thegreat masters and to the formation of the sense for the beautiful.” Liszt certainly accomplish-es that and more in these masterful transcriptions!

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Although, this recording of Beethoven’s Symphony No.1 in C Major, Opus 21, presents thework in Franz Liszt’s pianistic clothing, it is worth while to say a few things about Beethoven’soriginal work. The exact date of the composition of the First Symphony is uncertain, butBeethoven scholar and biographer, Alexander Wheelock Thayer places it about 1799. “As evi-dence pointing to the period in which the First Symphony was written,” he stated, “we have, firstof all, the report of the first performance on April 2, 1800; but inasmuch as the copying ofthe parts and the rehearsals must have consumed a considerable time, the period would bemuch too short (especially in view of Beethoven’s methods of working) if we were also toassume that the symphony originated in 1800. It is very likely that it was sketched at an ear-lier period and worked out in the main by 1799 at the latest.”

The First Symphony, although overshadowed by comparison with its eight successors, is awork of great interest, representing, as it does, the point of departure of the master sym-phonist and, at the same time, a connecting link between the symphonies of Haydn andMozart and the riper fruits of Beethoven’s genius. Youthful though it is, it does containunmistakable signs of the originality, audacity, and dramatic power which distinguishes hislater works. The true Beethoven touch is apparent in the dignified and impressive introduc-tion which sets off in such telling contrast the chief subject of the Allegro. In the second move-ment the kettledrum is raised from the humble position of mere time-beater to that of a soloinstrument of dramatic significance, a position which it occupies with ever increasing effec-tiveness throughout Beethoven’s later works – notably in the Violin Concerto and the Scherzoof the Ninth Symphony. In the third movement Beethoven breaks through the formal mold ofthe symphony as handed down by Mozart and Haydn, and introduces a new element – theScherzo. Although he adheres to the general plan of the old Minuet and Trio, in spirit and stylethe Minuet of the First Symphony has far more in common with the scherzos of his later sym-phonies than with the minuets of Haydn and Mozart.

Another element highly characteristic of Beethoven which this symphony contains ishumor. Note the adagio passage which introduces the Finale: surely the composer must havechuckled when he wrote it. It has been related about the conductor Daniel Gottlob Türk,director of the Musical Society at Halle in 1809, that he always omitted this passage becausehe felt sure that it would make the audience laugh. “Strange impertinence on the part ofTürk!” said Sir George Grove. “If Beethoven wanted us to laugh, why should we not?”

– Notes by Marina and Victor Ledin, ©1999

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Earl Wild

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EARL WILD

Earl Wild is a pianist in the grand Romantic tradition. His legendary career, so distinguishedand long, has continued for well over 70 years. Born in 1915, in Pittsburgh, Pennsylvania, EarlWild’s technical accomplishments are often likened to what those of Liszt himself must have had.Born with absolute pitch he started playing the piano at three. Having studied with great pianistssuch as Egon Petri, his lineage can be traced back to Scharwenka, Busoni, Ravel, d’Albert andLiszt himself.

Earl Wild’s career is dotted with musical legends. As a young pianist he was soloist withArturo Toscanini and the NBC Symphony. Since then he has performed with virtually everymajor conductor and symphony orchestra in the world. Rachmaninov was an important idol inhis life. It’s been said of Earl Wild, “He’s the incarnation of Rachmaninov, Lhevinne andRosenthal rolled into one!” In 1986 after hearing him play three sold-out Carnegie Hall concerts,devoted to Liszt, honoring the centenary of that composer’s death, one critic said, “I find itimpossible to believe that he played those millions of notes with 70-year-old fingers, so fresh-sounding and precise were they. Perhaps he has a worn-out set up in his attic, a la Oscar Wilde’sPicture of Dorian Gray.”

He’s one of the few American pianists to have achieved international as well as domesticcelebrity. He has performed for six Presidents of the United States, and in 1939, was the first clas-sical pianist to give a recital on the new medium of Television. At fourteen he was performing inthe Pittsburgh Symphony with Otto Klemperer as well as working at radio station KDKA, wherehe played many of his own compositions. As a virtuoso pianist, composer, transcriber, conductor,editor and teacher, Mr. Wild continues in the style of the legendary great artists of the past.

This eminent pianist has built an extensive repertoire over the years, which includes both thestandard and modern literature. He has become world renown in particular for his brilliantperformances of the virtuoso Romantic works. Today at 84, Mr. Wild continues to record andperform concerts throughout the world. In 1997, he won a Grammy® Award for his disc, “TheRomantic Master” – thirteen piano transcriptions (nine of his own). When he was 79, he record-ed a well received Beethoven disc which included the monumental Hammerklavier Sonata, as wellas another disc composed of Rachmaninov’s Preludes and the Second Piano Sonata. As an IvoryClassics™ artist, he has just recorded four 20th century piano sonatas by Barber, Hindemith andStravinsky as well as a sonata of his own, which will be released next year.

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To place an order or to be included on mailing list:Ivory Classics™ • P.O. Box 341068 • Columbus, Ohio 43234-1068

Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799e-mail@ivoryclassics.com • Website: http://www.IvoryClassics.com

CREDITS

Tracks through recorded on November 2, 1998 at Fernleaf Abbey (DDD);[Recording Engineer: Ed Thompson]

Tracks through recorded on June 15, 1987 in RCA Studio A, New York City (DDD); [Recording Engineer: Paul Goodman]

Tracks and recorded on December 28, 1984 in Borden Auditorium, New York City(DDD); [Recording Engineer: Kelly Higgins]

New and remastered 24-bit recording

Producer: Michael Rolland Davis

Rebalance Engineer: Ed Thompson

Special thanks to the Michael Palm Foundation

Liner Notes: Marina and Victor Ledin • Design: Communication Graphics

Cover Photo: Earl Wild in 1986 by Malcolm Crowthers taken at “Wynyard,” Lord Londonderry’s family home.

Inside Tray Photo: Ludwig van Beethoven (1814), Engraving by Blasius Höfel after L. Letronne. This engraving was regarded among Beethoven’s colleagues

as a particularly good likeness. This was also one of Beethoven’sfavorite images of himself, and he gave copies of it to his friend.

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BEETHOVEN: Sonata No.7 in D Major, Opus 10, No.3 22:22

I. Presto 6:30

II. Largo e mesto 9:15

III. Minuetto and Trio: Allegro 2:36

IV. Rondo: Allegro 3:51

BEETHOVEN: Sonata No.23 in F Minor, Opus 57 25:15

I. Allegro assai 9:46

II. Andante con moto 7:24

III. Allegro ma non troppo 8:07

BEETHOVEN/LISZT: Symphony No.1 in C Major, Opus 21 27:11

I. Adagio molto — Allegro con brio 8:59

II. Andante cantabile con moto 8:38

III. Menuetto — Allegro e vivace 3:34

IV. Adagio — Allegro molto e vivace 6:00

Total Playing Time: 75:01

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Producer: Michael Rolland Davis • Engineer: Ed Thompson

1999 Ivory Classics™ • All Rights Reserved.Ivory Classics™ • P.O. Box 341068

Columbus, Ohio 43234-1068 U.S.A. Phone: 888-40-IVORY or 614-761-8709 • Fax: 614-761-9799e-mail@ivoryclassics.com • Website: www.IvoryClassics.com

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