‘[Liszt’s] version of Beethoven’s Fifth is masterly, seemingly leaving nothing out and taxing the pianist to the very limit. But [Ian] Pace was equal to his every demand.’
Martin Dreyer (Music Critic)
As part of York Late Music’s opening October concerts, virtuoso pianist Ian Pace will continue his highly acclaimed Beethoven Project with a performance of his Pastoral Symphony No.6 (Saturday 5 October) transcribed by Franz Liszt.
Now then, the question is: did these two great pianist-composers ever actually meet? And the answer is yes. Definitely…Maybe.
The following is an account of Liszt's reminiscences of his meeting with Beethoven, which he told his student, Ilka Horowitz-Barnay in 1875:
‘I was about eleven years old', he began, 'when my highly esteemed teacher Czerny introduced me to Beethoven. He had long before told him about me and had asked him to hear me play. But Beethoven had aversions against prodigies and for a long time refused to hear me. Finally, though he was persuaded by my indefatigable teacher Czerny and said: “Then for God's sake – bring the little rascal.’”
‘It was one morning about ten o'clock (April 1823) when we entered the two small rooms of the Schwarzspanierhaus, where Beethoven lived. I was somewhat embarrassed – but Czerny kindly encouraged me. Beethoven was sitting by the window at a long narrow table working. For a moment he looked at us with a serious face, said a couple of quick words to Czerny but turned silent as my dear teacher signalled to me to go to the piano.
First, I played a small piece of Ries [Ferdinand Ries, another pupil of Beethoven]. When I had finished Beethoven asked if I could play a fugue by Bach. I chose the C minor fugue from The Well-Tempered Clavier. "Can you transpose this fugue?" Beethoven asked.
Fortunately I could. After the finishing chord I looked up. Beethoven's deep glowing eyes rested upon me – but suddenly a light smile flew over his otherwise serious face. He approached me and stroked me several times over my head with affection.
“Well – I'll be blowed" he whispered, "such a little devil."
Suddenly my courage rose: "May I play one of your pieces?" I asked with audacity. Beethoven nodded with a smile. I played the first movement of his C major piano concerto [No. 1]. When I had finished Beethoven stretched out his arms, kissed me on my forehead and said in a soft voice:
“You go on ahead. You are one of the lucky ones! It will be your destiny to bring joy and delight to many people and that is the greatest happiness one can achieve".
Liszt told me this with great emotion; his voice trembled but you could feel what divine joy these simple words had given him. Never did Liszt – the human being – make a greater impression on me. The flamboyant man-of-the-world, the revered artist was gone; this great moment he had experienced in his childhood still resounded in his soul. For a little while he was silent – then he said quietly:
"This was the proudest moment in my life – the inauguration to my life as artist. I tell this very rarely – and only to special friends.”’
A lovely tale but is it actually true?
Well, Beethoven was deaf and this memory assumes considerable aural cognition and engagement. But Beethoven did have a remarkable ability to ‘hear’ through vibrations and observations. There are quite remarkable testimonies to this effect. For example, when rehearsing String Quartet No 12 in Eb op. 127 Beethoven could apparently ‘hear’ enough to discuss details, even possible changes with the(Schuppanzigh Quartet) players.
It also breathes authenticity. Indeed Ilka Horowitz-Barnay says it was told ‘… in a tone of deepest emotion, with tears in his eyes and a warm note of happiness’.
He continues: ‘Liszt was sixty-four years old when he shared this moment and ended up with this statement: "This event in my life has remained my greatest pride, the palladium of my whole career as an artist. I tell it but very seldom and only to good friends!."’
But, and yes there has to be a ‘but’, the description of the meeting taking place in ‘two small rooms of the Schwarzspanierhaus’ in April 1823 simply cannot be true.
‘In October 1825 Ludwig van Beethoven moved into his final lodgings at the Schwarzspanierhaus, the old monastery of the “Black Spaniards,” where he remained until his death in 1827. His apartment was located on the upper floor of the building near the church façade. The former monastery had been secularised and was the property of Count Somsich during Beethoven’s stay.’ (Georg Predota)
Beethoven wasn’t living there at the time and date of this meeting…
One thing we absolutely do know for certain is that:
Ian Pace will perform Liszt’s transcription of Beethoven’s iconic Pastoral Symphony No.6 plus his transcription of Beethoven’s Six Goethe-Lieder. There will be a preconcert talk by Jakob Fichert at 6.45pm plus a complimentary glass of wine. For tickets and full programme details visit here.
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