Andrew chose to begin his second recital with another transcription by Liszt of a Beethoven song.This time ‘Adelaide’ S,466ii’ and once again we must prevail on that expert Leslie Howard :

“The title says it all, really: the second edition of this transcription follows the first, almost unaltered, up to the end of the Larghetto, but then a vast original meditation upon Beethoven’s song ensues, similar in shape and intent to the optional cadenza in the final version but with some markedly different harmonies. The elaboration of the concluding Allegro is also similar to the first version but towards the end there is a further reminiscence of earlier material with reference to the cadenza, and the coda is extended (rather like Liszt’s first transcription of Schubert’s Ave Maria) by a passage marked ‘religioso’. The beauties of these last additions may permit the overwhelming bulk of them in relation to the original song to be forgiven, but Liszt’s later elimination of them is equally understandable.”

A performance of sumptuous sounds even on this Yamaha at St Mary’s with a  melodic line so richly and beautifully embellished.It was the perfcct introduction for a quite overwhelming performance of Beethoven’s 5th Symphony.

It may be the Liszt Competition but this year it is dedicated in particular to Beethoven 250.

It was Franz Liszt who wanted to erect a monument to this master from Bonn.

He involved himself in the project in October 1839 when it became clear it was in danger of foundering through lack of financial support. Till then, the French contributions had totalled less than 425 francs; Liszt’s own personal donation exceeded 10,000 francs He contributed his advocacy and also his personal energies in concerts and recitals, the proceeds of which went towards the construction fund. One such concert was his last public appearance with Frédéric Chopin, a pair of piano duo concerts held at the Salle Pleyel and the Conservatoire de Paris on 25 and 26 April 1841.
Liszt returned to the concert stage for this purpose; he had earlier retired to compose and spend time with his family. He also wrote a special work for occasion of the unveiling, Festival Cantata for the Inauguration of the Beethoven Monument in Bonn, S.67 (Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn).

Other musicians had been involved earlier:

Robert Schumann offered to write a “Grande Sonate”, have it published with gold trim and black binding, and use the proceeds of the sale for the building fund. His Small Contribution to Beethoven’s Monument: Ruins, Trophies, Palms: Grand Sonata for the Pianoforte for Beethoven’s Memorial, by Florestan and Eusebius)underwent some name changes. His publishers did not accept it in 1836, and so he revised it and had it published in 1839 as his Fantasie in C op 17 with a dedication to Liszt. In the first movement, Schumann possibly alludes to a theme from Beethoven’s song cycle An die ferne Geliebte (To the Distant Beloved)^] which if true, was also an allusion to his own “distant beloved”, Clara Wieck, who was then separated from him in Paris, by order of her father Friedrich Wieck In 1841

Felix Mendelssohn wrote his Variations sérieuses for the project.

The unveiling was originally scheduled for 6 August 1843, but was postponed to 12 August 1845.

And what better work to play than Liszt’s own transcription of the 5th Symphony.

A magnificent performance that missed nothing of two hands taking the place of a full orchestra.It was the sense of relentless drive and nobility that immediately took us all by storm.After the initial shock of hearing  on the piano what is the most famous opening in all music we were immediately swept up in a  whirlwind that took us from the monumental opening to the Andante  and variations of beautiful shape and drive,through the relentless rhythmic drive of the scherzo to the heroic  propotions of the final Allegro.

After a short interval Andrew returned to give a pertformance of the Liszt Sonata in B minor that had the same  coherance and architectural direction as the Symphony.A remarkable performance from the whispered opening and close that encapsulates one of the truly greatest works in the Romantic repertoire.It was played with great control and extraordinary clarity.Encompassing moments of great passion with absolute exquisitely whispered delicacy.It was one of the most enjoyable performances I have heard in a long time of this much maligned work.

All best wishes to this local lad from Ealing who is flying high on his way to Utrecht in the name of Franz Liszt.