For some reason this piano transcription of the ever-popular Turkish March from The Ruins of Athens disappeared from view, to be replaced in pianists’ affections by the well-known transcription by Anton Rubinstein. Liszt’s version-every bit as interesting-is one of his rarest works; the identical pages stand at the head of the score of Capriccio alla turca, a much more extensive piece in Liszt’s virtuoso manner, in which the March (No 4 in Beethoven’s score) is succeeded by the Dervishes’ Chorus (No 3 in Beethoven’s score; also, at one time, known in a piano transcription by Saint-Saëns) in a section marked Andante fantastico, full of diabolical trills. Eventually the March returns, much transformed, and both themes are used to produce a triumphant coda. Yoo's hot-blooded, masculine performance does the work great justice.