Liszt – Beethoven Symphony No. 5 S. 464/5 | Complete Score

📖 Franz Liszt's piano transcription of Beethoven's Symphony No. 5 in C minor, Op. 67, catalogued as S. 464/5, is part of his monumental project to arrange all nine Beethoven symphonies for solo piano. The first version of this transcription dates from 1837 (S. 463a), while the revised version, S. 464/5, was completed around 1863–64 and published in 1865 by Breitkopf & Härtel. The entire set is dedicated to Hans von Bülow. Liszt's aim was to act as a "conscientious translator" who grasped the spirit of the original work, making Beethoven's symphonies accessible to pianists and audiences who lacked access to orchestral performances. His transcriptions are characterized by octave textures, enriched doublings, and techniques that create an orchestral sound at the piano. The Fifth Symphony, with its famous "fate motif" and dramatic journey from C minor to C major, poses a particular challenge in capturing the orchestral weight and timbral variety on a single keyboard instrument. Structure & Timestamps [00:00] – I. Allegro con brio (C minor) [07:15] – II. Andante con moto (A-flat major) [16:16] – III. Scherzo: Allegro (C minor) – Trio (C major) [21:08] – IV. Allegro (C major) Work Information Composer (original): Ludwig van Beethoven (1770–1827) Arranger: Franz Liszt (1811–1886) Work: Symphony No. 5 in C minor, Op. 67 (transcription) Catalogue: S. 464/5 (2nd version); S. 463a (1st version, 1837) Key: C minor (concludes in C major) Composed (transcription): 1837 (1st version); 1863–64 (2nd version) Published: 1865 (Breitkopf & Härtel, Leipzig) Dedication: Hans von Bülow Movements: 4 Period: Romantic Form: Symphony transcription Instrumentation: Piano As you follow the score, observe how Liszt translates Beethoven's orchestral textures for the piano. The opening movement [00:00] presents the famous "fate motif"—the short-short-short-long rhythm—which Liszt renders with full chordal weight and dramatic dynamic contrast, capturing the orchestral tutti's power. Pay attention to how he distributes Beethoven's wind and string lines between the hands, using octave doublings to suggest orchestral mass. The second movement [07:15], an Andante con moto with variations, requires a singing tone and careful balance between the melodic line and the accompanying figurations. The third movement [16:16], a Scherzo and Trio, moves between the dark C minor of the scherzo and the brighter C major of the trio, leading without pause into the finale. The finale [21:08] brings the work to its triumphant C major conclusion. Liszt's transcription must convey the added brilliance of Beethoven's expanded orchestration—piccolo, trombones, and contrabassoon—through pianistic means, building to the final Presto with its return of the Trio material. Credits: Sheet music: IMSLP Audio source: Musopen Performer: Lambis Vassiliadis License: Public Domain Mark 1.0 🔗 https://creativecommons.org/publicdom... The video is edited, sheet-synchronized, and presented for educational and demonstration purposes. 🔔 Enjoy the piece and subscribe to support Sollab. 🔗    / @sollab.sheetpiano   #liszt #franzliszt #beethoven #symphony5 #s464 #pianotranscription #fate #classicalmusic #classicalpiano #sheetmusic #pianosheetmusic #piano #pianomusic #visualpiano #pianosolo #learnpiano #completescore #sollab