L.v.Beethoven: Piano Trios Transcribed & reproduced for two pianos by V.Viljanen 2023-2025

L.v.Beethoven: Piano Trios & Beyond Transcribed for Two Pianos

Beethoven: Trio For Clarinette, Cello and Piano Op.38. V. Scherzo. All.molto e Vivace. . Transcribed for Two Pianos by VViljanen Sep 23, 2023, on a reading/sequence of H.Fesefeldt (about 2010). Recorded  and reproduced from playback of a slightly /tempos...) reviewed and modified seq. on a modeled Blüthner Model 1 Grand, piano duo, which was revoiced, reconfigured and the rec. setup made by VV.
Photo by VV2023
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Beethoven: Scherzo. All.molto e Vivace. Clarinette Trio Op.38 - mvt 5. Transcr.ibed For Two Pianos

Beethoven: Piano Trio Op.38. V. Scherzo. All.molto e vivace. Transcribed For Two Pianos

Beethoven: Andante con molto alla marcia – Presto.  Mvt.6. from Trio for Clarinette, Cello and Piano Op.38,  Transcribed for two pianos by VV 2023 on a sequence of H.Fesefeldt (1942-2019, a German scientist in physics and music sofware developer)) from about 2010. . Reproduced and recorded on a modeled Nlüthner Model 1 Grand, revoiced, reconfigured, and the rec. setup made by VV. - The tempos selected by VV according to the commonly used ones.
Photo by VV2023
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Beethoven: Andante Con Moto Alla Marcia – Presto. - Trio Op.38, mvt.6. Transcr. For Two Pianos

Beethoven: Alla Marcia (And. c. molto) – Presto. Clar. Trio Op.38, mvt.6. Transcr. For Two Pianos

Beethoven:  II. Scherzo. From Piano Trio  in Bb Major. Op. 97 ('Archduke Trio').  Transcription oor 2 Pianos by VV from a  of a slightly (by articulations, dynamics & tempos-etc) modified reading ca 201o's  into a sequence for the original instrument combo by H.Fesefelt (1942-2019, a German nuclear physics researcher & music software developer). 
Recorded from its playback on a modeled Blüthner Model 1 Grand piano duo, revoiced, reconfigured, and the rec.setup made by VV.
Photo: Sunset Feb 20, 2025 on a local lake ice cover by VV.
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Beethoven:  Scherzo. Piano Trio No.7 ('Archduke') In Bb Maj. Op. 97  Mvt2.Transcr. For 2 Pianos.

Beethoven:  Scherzo. Mvt2 of 'Archduke Trio' Op. 97. Transcr. for 2 Pianos.

Beethoven:  Piano Trio in Bb Major, 'Archduke',.Op. 97. Mvt1. Allegro moderato.Transcribed for 2 Pianos. by VV.
Reproduced by VViljanen  Dec2, 2024, re-read & re-written* on a  sequence of H.Fesefelt (regenerated by him ca.2015). 
Recorded  dec2 , 2024 (an update of the previous rec.posted here) from its playback, on a pair of Petrof Mistral 284 modeled grands Grand, revoiced, reconfigured, and the rec.setup made by VV.
Photo: Beethoven sitting at a piano
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*by its articulations/touch, phrases, dynamics & rhytmic presentation feel..,  and tempos- and other specs of its interpretation

Beethoven: Allegro Moderato. Piano Trio Bb Major Op. 97 ('Archduke')-I. Transcr For 2 Pianos.

L.v.Beethoven: 'Archduke' - Piano Trio Op. 97:         1.Allegro Moderato. Transcribed For 2 Pianos.

Beethoven Archduke Trio p.97. IV.All.mod. - Presto.Transcription For 2 Pianos. Reproduced by VViljanen Oct18, 2023, on and after a slight revision of a sequence of H.Fesefeldt(1942-2019) fr. ca,2010. Recorded from playback on a modeled Blåuthner Model 1 grand piano duo, revoiced, reconfigured and the rec. setup made by VV.
Photo: VV  Aug4, 2023
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Beethoven: Archduke Trio p.97. IV.All.mod. - Presto.bTransscription For 2 Pianos

Beethoven: Archduke Trio p.97. IV.All.mod. - Presto.Transcription For 2 Pianos

Beethoven: Trio Bb Major Op.11 - 'Gassenhauer Trio' (1797)   for Piano, Clarinette & Cello. Mvt I. Allegro con brio. Transcribed & reproduced for Two Pianos by VV2023 from a modified reading into a sequence generated by H.Fesefeldt (1942-2019)  ca.2010's. The rec was carried out using a pair of modeled Blüthner Model 1 grand pianos, which were revoiced, reconfigured andthe rec.setup made by VV.
Photo: L.v.Beethoven (1770-1827)
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Beethoven: Piano Trio Op.11. Transcription for 2 Pianos.

Beethoven: Allegro con brio. Mvt 1 of Trio Bb Major Op.11. Transcribed for Two Pianos

Beethoven: Trio  for Clarinette, Cello & Piano Op.38mtv6 - Andante-Presto. Transcription & reproduction for Two Pianos  by  VViljanen Nov 04, 2023, on/after a reading/sequence of Harm Fesefeldt (1842-2019, a German scientist in physics and music software developer ('Noteworthy Composer')) ca.2010. The tempos selected by VV.
Photo by VV 2019
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Beethoven: PianoTrio Op.38mvt 6 - Andante-Presto. Transcription for two pianos

Beethoven: Andante-Presto. Trio Op.38: VI. -  Transcription for two pianos

L.v.Beethoven:  IV. Andante con Variazioni. Trio Op.38. Transcription for two pianos. Reeproduced & recorded by VV2023 on/after a reading/sequence of H.Fesefeldt (1942-2019) ca 2010, on a modeled Blüthner Model 1 grand piano duo, which was revoiced, reconfigured, and the rec. setup made by VV.
Photo by VV2022
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Beethoven Andante Con Variazioni. Trio Op.38:IV. Transcription for two pianos.

Beethoven: Piano Trio Op.38: IV. Andante con Variazioni.  Transcription for two pianos.

Beethoven PianoTrio Op.38. III. Tempo di Menuetto.-Trancribed for two pianos by VV on/after a score reading sequenced by H.Fesefeldt ca 2010. Recorded using a modeled Blüthner grand piano duo, which was revoiced, reconfigured and the rec. setup made by VV.
Photo by VV2019
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Beethoven: PianoTrio Op.38. III. Tempo di Menuetto.-Trancribed for two pianos

Beethoven: PianoTrio Op.38. II. Adagio Cantabile - Transcribed and produced for two pianos by VViljanen  Nov 06, 2023, on/after a reading/sequence of H.Fesefeldt ca 2010. Recording carried out on a modeled Blüthner Model 1 grand piano duo, which was revoiced, reconfigured and the rec. setup made by VV.
Photo by VV 2022
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Beethoven: PianoTrio Op.38mvt2 - Adagio Cantabile. Transcription for two pianos

Beethoven: PianoTrio Op.38: II. Adagio Cantabile. Transcription for two pianos

Bethoven Piano Trio Op.38:I.Adagio- Allegro con brio.. Transcribed and produced  for Two Pianos by VViljanen 2023 on a seq/reading of H.Fesefeldt ca.2010., after a review of  the articulations and the temposof thepats, and some modifications to them. The re. carried out with a modeled Blüthner Model 1 grand piano duo. revoiced, reconfigured and the rec.seup made by VV dependin mainlyon the individual characters of the pieces. 
Photo: From Nui Bay Thailand (by Anon)
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Beethoven PianoTrio Op.38mvt1 Adagio - Allegro Con Brio . Transcription for two pianos.

Beethoven PianoTrio Op.38: I. Adagio - Allegro Con Brio . Transcription for two pianos.

Beethoven: Trio Op.11 for Piano, Clarinette & Cello. Mvt II.Adagio. Transcription for two pianos. 
Transcribed & reproduced by VV2023 on a reading/rendition into a sequence of H.Fesefeldt (1942-2019) ca 2010.
Photo by VV 2022
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Beethoven: Trio Op.11: mvts II-III 'Gassenhauer Trio. Transcription for two pianos

Beethoven: Trio Op.11 ''Gassenhauer Trio'. II.Adagio. Transcription for two pianos

Beethoven:  I.Allegro Vivace E Con Brio. Piano Trio No 5 D Major Op70 no 1 'Ghost'. Transcription For 2 Pianos. Transcribed and reproduced by VV Nov.17, 2023 from a slightly modified sequence/score reading of H.Fesefeldt ca.2010, using on its recording a pair of modelled Blüthner grand pianos, revoiced, reconfigured and the rec. setup made by VV.
Photo: *Lv.B and Op.70'
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Beethoven:  I.Allegro Vivace E Con Brio. Piano Trio 5 D. Transcription For 2 Pianos

Beethoven:  I.Allegro Vivace e con brio. Piano Trio 5 Op.70. Transcr. for 2 pianos

Beethoven: Mvt.1 'Allegro vivace e con brio' of Piano Trio in D major, Op. 70 No. 1 "Ghost"*. Transcribed for two pianos by VV. 
Reproduced by VV on basis of a reading into a sequence for original trio instrument setup, genrated in 2010's by H.Fesefeldt (1942-2019, a German nuclear Physics researcher, and music software developer). Here it was reviewed and slightly modified (e.g. on tempos) by VV prior to its recording on a pair of modeled Petrof Mistral 284 grand pianos, which were revoiced and reconfigured by VV, as ´well as were made the rec setup.

*The work is in three movements:
1.Allegro vivace e con brio, D major, 3/4
2.Largo assai ed espressivo, D minor, 2/4 [This movement is what gave the "Ghost Trio" its name][5]
3.Presto, D major, 4/4 ...
Op. 70 is a set of two Piano Trios by Ludwig van Beethoven, written for piano, violin, and cello. Both trios were composed during Beethoven's stay at Countess Marie von Erdödy's estate, and both are dedicated to her for her hospitality. They were published in 1809.

The first, in D major, known as the Ghost, is one of his best known works in the genre (rivaled only by the Archduke Trio). The D major trio features themes found in the second movement of Beethoven's Symphony No. 2. The All-Music Guide states that "because of its strangely scored and undeniably eerie-sounding slow movement, it was dubbed the 'Ghost' Trio. The name has stuck with the work ever since. The ghostly music may have had its roots in sketches for a Macbeth opera that Beethoven was contemplating at the time."[1] According to Lewis Lockwood, Beethoven's pupil Carl Czerny wrote in 1842 that the slow movement reminded him (Czerny) of the ghost scene at the opening of Shakespeare's Hamlet, and this was the origin of the nickname.[2] James Keller also attributes the nickname to Czerny, adding, "You may discard as erroneous the oft-encountered claim that this movement of the Ghost Trio is a reworking of music Beethoven originally sketched as the Witches Chorus for his Macbeth.[3]

These pieces are representative of Beethoven's "Middle" stylistic period, which went from roughly 1803 to 1812, and which included many of his most famous works. Beethoven wrote the two piano trios while spending the summer of 1808 back once again in Heiligenstadt, Vienna,[4] where he had completed his Symphony No. 5 the previous summer. He wrote the two trios immediately after finishing his Sinfonia pastorale, Symphony No. 6. This was a period of uncertainty in Beethoven's life, in particular because he had no dependable source of income at the time.

Although these two trios are sometimes numbered as "No. 5" and "No. 6", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the two Op. 70 trios may be shown as having different numbers, if any.
(Wikipedia)

Beethoven: Piano Trio in D major, Op. 70 No. 1 "Ghost". Transcr.for two pianos

Beethoven: I. Allegro vivace e c. brio. Piano Trio D major, Op. 70-1 "Ghost". Transcr. for 2 pianos

L.v.Beethoven: Presto. Mvt 3 of Piano Trio in D major, Op. 70 No. 1 "Ghost". Transcribed for two pianos. Reproduced by VViljanen Oct.7, 2024, on/after/of a score reading into a sequence, generated  ca.2010's by H.Fesefeldt (1942-2019, a German nuclear F¨Physics researcher, and music software developer.
More about the original work - see Description of mvt 1, also reproduced by VV. Here a pair of modeled Petrof Mistral 284 grand pianos, revoiced & reconfiguredby VV were used on its recording, the rec setup made by VV

L.v.Beethoven: Presto. Mvt 3 of Piano Trio in D major, Op. 70 No. 1 "Ghost". Transcribed for two pianos.

Beethoven: Presto. Mvt 3 of Piano Trio in D major, Op. 70 No. 1 "Ghost". Transcribed for two pianos

Beethoven: II. Largo assai ed espressivo, D minor.Mvt 2 of  Piano Trio Op.70-1 "Ghost". Transcribed for two pianos by Veikko Viljanen 2024 On/after/of a score reading into a sequence, generated c..2010's by H.Fesefeldt. Slight review & modifications were made by VV on its articulations, tempos, dynamics, as well as some interpretational details. A pair of Petrof Mistral 284 grand pianos, revoiced & reconfigured by VV. were used on its rendering & recording.
More about the originl work (by Wikipedia): 
Op. 70 is a set of two Piano Trios by Ludwig van Beethoven, written for piano, violin, and cello. Both trios were composed during Beethoven's stay at Countess Marie von Erdödy's estate, and both are dedicated to her for her hospitality. They were published in 1809.
The first, in D major, known as the Ghost, is one of his best known works in the genre (rivaled only by the Archduke Trio). The D major trio features themes found in the second movement of Beethoven's Symphony No. 2. The All-Music Guide states that "because of its strangely scored and undeniably eerie-sounding slow movement, it was dubbed the 'Ghost' Trio. The name has stuck with the work ever since. The ghostly music may have had its roots in sketches for a Macbeth opera that Beethoven was contemplating at the time."[1] According to Lewis Lockwood, Beethoven's pupil Carl Czerny wrote in 1842 that the slow movement reminded him (Czerny) of the ghost scene at the opening of Shakespeare's Hamlet, and this was the origin of the nickname.[2] James Keller also attributes the nickname to Czerny, adding, "You may discard as erroneous the oft-encountered claim that this movement of the Ghost Trio is a reworking of music Beethoven originally sketched as the Witches Chorus for his Macbeth.[3]
These pieces are representative of Beethoven's "Middle" stylistic period, which went from roughly 1803 to 1812, and which included many of his most famous works. Beethoven wrote the two piano trios while spending the summer of 1808 back once again in Heiligenstadt, Vienna,[4] where he had completed his Symphony No. 5 the previous summer. He wrote the two trios immediately after finishing his Sinfonia pastorale, Symphony No. 6. This was a period of uncertainty in Beethoven's life, in particular because he had no dependable source of income at the time.
Although these two trios are sometimes numbered as "No. 5" and "No. 6", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the two Op. 70 trios may be shown as having different numbers, if any.
Piano Trio in D major, Op. 70 No. 1 "Ghost" is in three movements:
1. Allegro vivace e con brio, D major, 3/4
2. Largo assai ed espressivo, D minor, 2/4 [This movement is what gave the "Ghost Trio" its name]
3. Presto, D major, 4/4

Beethoven: II. Largo assai ed espressivo, D minor.Mvt 2 of Trio Op.70-1 "Ghost". Transcribed for two pianos

Beethoven: II. Largo assai ed espressivo, D minor. Op.70-1 "Ghost". Transcribed for two pianos

L.v.Beethoven: Piano Trio in Eb Op70n2.I.Poo sostenuto -All.non troppo. Transcribed for  Two Pianos  by VV

L.v.Beethoven: Trio in Eb Op70n2.I.Poco sostenuto -All.non troppo. Transcribed for Two Pianos by VV

Beethoven: Trio in Eb Op70 n2- I. Poco sostenuto -All.non troppo. Transcribed for Two Pianos by VV

Beethoven: Allegretto ma non troppo A major. Mvt III of Piano Trio in E-flat major, Op. 70-2.Read & Transcribed for two pianos  by VViljanen Nov 18-19, 2024.
A pair of Petrof Mistral 284 modeled grand pianos, revoiced & reconfigured by VV,  were used on recording, the setup of it  also made by VV.

More about the originl work (by Wikipedia):
Op. 70 is a set of two Piano Trios by Ludwig van Beethoven, written for piano, violin, and cello. Both trios were composed during Beethoven's stay at Countess Marie von Erdödy's estate, and both are dedicated to her for her hospitality. They were published in 1809.
These pieces are representative of Beethoven's "Middle" stylistic period, which went from roughly 1803 to 1812, and which included many of his most famous works. Beethoven wrote the two piano trios while spending the summer of 1808 back once again in Heiligenstadt, Vienna,[4] where he had completed his Symphony No. 5 the previous summer. He wrote the two trios immediately after finishing his Sinfonia pastorale, Symphony No. 6. This was a period of uncertainty in Beethoven's life, in particular because he had no dependable source of income at the time.
Although these two trios are sometimes numbered as "No. 5" and "No. 6", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the two Op. 70 trios may be shown as having different numbers, if any.
Piano Trio Op.70 No 2 in Eb Major is in four movements:
1. Poco sostenuto - Allegro ma non troppo (E♭ major)
2. Allegretto (C major)
3. Allegretto ma non troppo (A♭ major)
4. Finale. Allegro (E♭ major)
Year/Date of Composition	1808
First Publication	1809 (August) Leipzig: Breitkopf & Härtel
Dedication	Anna Maria Erdődy
Composer Time Period	Classical
Piece Style	Classical
Instrumentation	violin, cello, piano

Beethoven: Allegretto ma non troppo. Mt3 of Piano Trio in Eb major, Op. 70-2.Transcr for two pianos

Beethoven: Allegretto ma non troppo. Mt3 of Piano Trio in Eb major, Op. 70-2.Transcr. for two pianos

L.v.Beethoven: Allegro. Mvt 2 of Piano Trio Op. 70 No 2, Eb  major. Transcribed & reproduced  for two pianos by VV on a sequence regenerated by H.Fesefeldt (1942-2019) in ca.2010's, but now re-read, reviewed, modified & re-written by VV. A pair of Petrof Mistral 284 modeled grand pianos, revoiced & reconfigured by VV, as  their rec. setup, were used on recording.
Photo: Beethoven-Haus, Bonn.
More about the originl work (by Wikipedia):
Op. 70 is a set of two Piano Trios by Ludwig van Beethoven, written for piano, violin, and cello. Both trios were composed during Beethoven's stay at Countess Marie von Erdödy's estate, and both are dedicated to her for her hospitality. They were published in 1809.
These pieces are representative of Beethoven's "Middle" stylistic period, which went from roughly 1803 to 1812, and which included many of his most famous works. Beethoven wrote the two piano trios while spending the summer of 1808 back once again in Heiligenstadt, Vienna,[4] where he had completed his Symphony No. 5 the previous summer. He wrote the two trios immediately after finishing his Sinfonia pastorale, Symphony No. 6. This was a period of uncertainty in Beethoven's life, in particular because he had no dependable source of income at the time.
Although these two trios are sometimes numbered as "No. 5" and "No. 6", the numbering of Beethoven's twelve piano trios is not standardized, and in other sources the two Op. 70 trios may be shown as having different numbers, if any.
Piano Trio Op.70 No 2 in Eb Major is in four movements:
1. Poco sostenuto - Allegro ma non troppo (E♭ major)
2. Allegretto (C major)
3. Allegretto ma non troppo (A♭ major)
4. Finale. Allegro (E♭ major)
Year/Date of Composition 1808
First Publication 1809 (August) Leipzig: Breitkopf & Härtel
Dedication Anna Maria Erdődy
Composer Time Period Classical
Piece Style Classical
Instrumentation violin, cello, piano

L.v.Beethoven: Allegro. Mvt 2 of Piano Trio Op. 70 No 2. Transcribed for two pianos by VV

L.v.Beethoven: IV Andante cantabile, ma però con moto. (in D major)
 V. Allegro moderato (in Bb major)'Archduke Trio* Op.97. 
Transcribed & reproduced  for Two Pianos by VViljanen on/after a careful review & re-reading of a sequence for the original instrument setup (piano, violin, cello) by H.Fesefeldt (1942-2019, a German nuclear physics researcher& music software developer)  made by him ca 2010's.  Now, Dec15, 2024, a pair of Petrof Mistral 284 mdeled grands were used on recording. The instruments were revoiced & reconfigured , as well as the rec setup was made by VV. The tempos were now set according to that proposed by Carl Czerny on his irsanscription of this work for four hands (1838).
Piano Trio op. 97 is in  four movents:
1. Allegro moderato (B♭ major)
2 Scherzo. Allegro (B♭ major)
3 Andante cantabile ma però con moto (D major) —
4.Allegro moderato (B♭ major)
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Photo: L.v. Beethoven

L.v.Beethoven: III.Andante cantabile. IV.All.moderato. 'Archduke' Trio Op.97. Transcr. for 2 Pianos

My warmest thanks to everyone stopping by for listening to my  'REVIEW   OF THE PAST TIME PIANISTS' INTERPRETATIONS ON THE HISTORICAL PIANO ROLLS, and also to a minor LIST of MY MY OWN RENDITIONS, all of the latter representing a variety of piano music & some pipe-organ classics, - and  TO THE Growing LISTS OF (just lately done and reproduced)  TRANSCRIPTIONS OF VARIOUS CHAMBER MUSIC CLASSICAL PEARLS FOR TWO PIANOS.
A HEADSET IS RECOMMENDED for optimal sound experience!
This kind of 'touching' on these old pre-sound-rec. era works by the great performers of the past, and giving my sound to these old 'punch rolls',  makes me feel  deep humbleness, .and I wish that this modest attempt to bring these  performances alive will satisfy you listening to them!
To introduce myself...
I am a Finnish M.D., PhD. and Hand Surgeon (now retired), previously when young with 10 years of professionally orientated piano studies at Turku Conservatory in 1965-1975, partly  along with medical University studies. 
The digital sound techniques have become very familiar to me already from 1980's along with my university research work  
and my musical activities.
As continuation to my musical and professional experience, I have, during the last few years of my retirement, adopted a music historical challenge
to bring the past time major and minor pianists, prior to sound-recording era, onto the same 'start line' with the present pianists, by making their presentations, played onto 'punch rolls' i.e. piano rolls, audible with modern digital techniques. This wouldn't be possible without the pioneering  efforts of Richard Stibbons, Wayne Stahnke, Terry Smythe, Warren Trachtman, Spencer Chase, and others, who developed the optical digitizing techniques of the piano rolls, and digitized them.

The main part of my recordings here in SC consists of selection recorded by me from optically digitized piano-rolls** (from 1910's on or earlier, classical and 'vintage era'). These recordings of mine are not and will not be commercially unavailable. - The rolls were first optically scanned and converted into a digital form by diverse operators** (see also to the info of each piece). The pieces here were partly (minor part) picked from various open net sources, publicly available, but mainly from the huge archive (n=ca.5000) of digitized copies copies of the original reproducing piano rolls, made available to me by one of the pioneers of roll digitizing tehchniques (willing to keep anonymous), and then recorded from this archive mainly with virtual grand piano (called by me 'Bluethner Model One') modified/re-designed by me, as well as the rec settings. 
Also a minor selection of my own renditions among my records can be found here, included on my playlist 'Bach Goes Virtual', the name of the list telling something about the techniques used for getting the end result... The list includes various organ works by J.S.Bach and others, and also a few piano renditions of mine. Then there are included also various pieces which have been in my repertoire, but here played mainly by the  'guest' great players of the past (before the sound recording era).
MY MOST HUMBLE THANKS TO THE NOBLE DONOR  OF THIS INVALUABLE PIANO ROLL MATERIAL FOR MY USE!!!
My Sincere Thanks also to The Player Piano Group, UK, for providing me their permission to use the information about the piano rolls collected and provided on their web page ( https://rolls.playerpianogroup.org.uk ),  and for simplifying my short historical presentations of these renditions on their re-publication here!
AND LAST BUT NOT LEAST, MY MOST HUMBLE THANKS TO EVERYONE  OF YOU FOR LISTENING, AND FOR YOUR 'LIKES' & COMMENTS !
YOUR LISTENING & FEEDBACK IS TRULY APPRECIATED..!!.
Use of good headphones or speakers will make your music experience more enjoyable!
Best wishes, all the best
Veikko
These recordings are not commercially available, and ANY KIND OF THEIR COMMERCIAL USE IS PROHIBITED.