Uploaded June 2020 | Updated September 2026, 2 hours ago
Franz Liszt - Fantasie über Motiven aus Beethovens Ruinen von Athen, S122
Piano: Michel Béroff
Conductor: Kurt Masur
Gewandhausorchester Leipzig
After the final revisions were complete, Liszt issued his Ruins of Athens Fantasy in three versions, whose texts run parallel bar-for-bar, and dedicated all of them to Nikolay Rubinstein: the versions are for solo piano (S389—see Vol 18 of this series), two pianos (S649) and piano and orchestra. Liszt’s earlier Capriccio alla turca (S388, also in Vol 18) [BV1zt411S7Jg]provided much of the material, although texturally considerably altered, and the recently published transcription of the Marsch und Chor (No 6 in Beethoven’s incidental music, Opus 113)—under the title of Fantasie über Motive aus Beethovens Ruinen von Athen, first version (S388b—see Vol 44)—supplied the basis for the new beginning. In the version with orchestra, Liszt is happy to have the piano remain silent for the whole introduction 5, and he then introduces the soloist with a mighty outburst 6, and the theme of the introduction gives way to that of the Dervishes’ Chorus (Beethoven’s No 3), in which the orchestra gradually joins. The final section 7 is based on the famous Turkish March (Beethoven’s No 4) which Liszt introduces in a very gentle way, little by little increasing the orchestration, the volume and the tempo, finally reaching a coda in which the other themes reappear. For some inscrutable reason, this excellent work is almost never encountered in concert, a fate which seems to have befallen Beethoven’s original, too.（Thanks for @CalciumFluoride_）
Franz Liszt - Fantasie über Motiven aus Beethovens Ruinen von Athen, S122
Piano: Michel Béroff
Conductor: Kurt Masur
Gewandhausorchester Leipzig
After the final revisions were complete, Liszt issued his Ruins of Athens Fantasy in three versions, whose texts run parallel bar-for-bar, and dedicated all of them to Nikolay Rubinstein: the versions are for solo piano (S389—see Vol 18 of this series), two pianos (S649) and piano and orchestra. Liszt’s earlier Capriccio alla turca (S388, also in Vol 18) [BV1zt411S7Jg]provided much of the material, although texturally considerably altered, and the recently published transcription of the Marsch und Chor (No 6 in Beethoven’s incidental music, Opus 113)—under the title of Fantasie über Motive aus Beethovens Ruinen von Athen, first version (S388b—see Vol 44)—supplied the basis for the new beginning. In the version with orchestra, Liszt is happy to have the piano remain silent for the whole introduction 5, and he then introduces the soloist with a mighty outburst 6, and the theme of the introduction gives way to that of the Dervishes’ Chorus (Beethoven’s No 3), in which the orchestra gradually joins. The final section 7 is based on the famous Turkish March (Beethoven’s No 4) which Liszt introduces in a very gentle way, little by little increasing the orchestration, the volume and the tempo, finally reaching a coda in which the other themes reappear. For some inscrutable reason, this excellent work is almost never encountered in concert, a fate which seems to have befallen Beethoven’s original, too.（Thanks for @CalciumFluoride_）
![Franz Liszt - Ballade No.2 in b minor, S170a [early version]](https://i.ytimg.com/vi/PNa9OM_pEzE/mqdefault.jpg "Franz Liszt - Ballade No.2 in b minor, S170a [early version]
As a matter of fact, Liszt never expected the original version of Ballade No.2 to be published, but the original version has long been known. In the later version, Liszt change the ending. Beyond all doubt, the beautiful and quiet coda of the later version is fantastic, but it doesnt mean the original ending is not good. As for me,I even very like the original version. It is an interesting job to explore Liszts creation through different version of works.")
