【李斯特音乐欣赏】Beethoven Symphonies, S.464，第六交响乐
Cyprien Katsaris: Piano
Beethoven Symphonies, S.464, is a set of nine transcriptions for solo piano by Franz Liszt of Ludwig van Beethoven's symphonies.
Liszt began the work in 1838, but at that time only completed the Fifth, Sixth and Seventh Symphonies, of which the Fifth and Sixth were published by Breitkopf & Härtel and the Seventh by Tobias Haslinger. In 1843, he arranged the third movement of the Third Symphony, which was later published by Pietro Mechetti in 1850. Liszt was paid 8 francs per page by Breitkopf & Härtel, who first requested two symphonies to be transcribed. During his 1840 travels in Europe he might have given the transcribed symphonies some publicity by playing them at his concerts. With three symphonies transcribed, Liszt set aside the work for another 23 years. It wasn't until 1863 that Breitkopf & Härtel suggested to Liszt that he transcribe the complete set for a future publication. For this work, Liszt recycled his previous transcriptions by simplifying passages, stating that "the more intimately acquainted one becomes with Beethoven, the more one clings to certain singularities and finds that even insignificant details are not without their value". He would note down the names of the orchestral instruments for the pianist to imitate, he would also add pedal marks and fingerings for amateurs and sight readers.
When Liszt was trying to transcribe the choral movement of the Ninth Symphony for solo piano, he became "...convinced of the impossibility of making any pianoforte arrangement of [it]... that could in any way be... satisfactory". (He had in fact completed a transcription of the Ninth Symphony for two pianos in 1850.) Nevertheless, he made another attempt after an expressive letter from Breitkopf & Härtel. The full set of transcriptions was finally published in 1865 and dedicated to Hans von Bülow. The original publication of the Fifth and Sixth symphonies had been dedicated to the painter and amateur violinist Jean Auguste Dominique Ingres.
该作品与贝多芬著名的《第五交响曲“命运”》作于同时，但内容却大不一样。贝多芬天生爱好自然，曾花尽大半时间踏遍郊野。他频繁地离开维也纳，为的是到偏远的乡郊工作。他在1808年夏天的书信中说：“我在灌木、大树、草坪和岩石间行走的时候，是多么快乐啊！因为树丛、花草和岩石，都能给人以共鸣。”人们在他1803年的笔记本中找到了这样的话：“河愈大，调愈沉”，说明他通过观察自然汲取灵感。
《田园交响曲》就是根据贝多芬在海利根斯塔特的体验写成的。他并不是首位以交响乐描述大自然的作曲家，之前的约瑟夫·海顿曾于1802年首演的清唱剧《四季》；然而他的技巧而要更高一筹，使得全曲充满了对自然的敏感捕捉和对心境的出色描摹。
1808年12月22日在维也纳剧院首演，与《第五交响曲》一同问世。在首演时亦曾以“重拾乡郊的集体回忆”为题。
柏辽兹在其对贝多芬交响曲的分析论文中对该作品作出了极高的评价：
“这一令人惊叹的图景，应该由普桑设计，由米开朗基罗执笔……
那些伟大、崇高而美丽的古代诗篇，在这一音乐的奇迹面前也变得苍白！……
把脸藏起来吧，可怜的古董诗人们，可怜的凡人；你们中规中矩的语言，尽管纯净和谐，却也比不过声响之艺术。……是的，伟大而可敬的诗人们，你们被打败了。“
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