Franz Liszt Sinfonía Fausto Vídeos
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Franz Liszt Alexander Gauk Berlioz Schuller Svetlanov Mravinsky 1828 1857 1954
Franz Liszt A Faust Symphony S.108 (In Three Character Pictures) Original Version 1. Faust (00:08) 2. Gretchen (25:06) 3. Mephistopheles (41:28) Alexander Gauk, conductor Grand Symphony Orchestra Recorded Live on April 24, 1954 Franz Liszt was quite immersed in Goethe's drama of "Faust" since he was first introduced to it by Berlioz in an 1828 French translation. Originally scored for orchestra, it premiered in Weimar with the composer conducting, on September 5, 1857 for a presentation of a monument to Goethe and Schuller. Liszt would later expand the scoring by adding a tenor, Male Choir, and pipe organ. Liszt dedicated the work to Berlioz. The music has three sections, and may best be described as a Symphony in name only, as it employed a wide range of formal elements to create the portraits he intended. In "Mephistopheles", he introduced some of his most significant music with regards to atonalism, of which he was one of the earliest advocates. This is one of the fastest performances of the work ever recorded, and the pace is often blistering. most performances of this symphony average around an hour and fifteen minutes. Gauk's comes in at less than 58 minutes. The teacher of some of the greatest conductors of the Soviet Era, Gauk's pupils included such giants of the podium as Svetlanov and Mravinsky He leaves a rich legacy of recordings to prosperity, although most are currently out of print. The first thing that one notices about his conducting is the impeccable quality of his orchestral sound. He is often considered to be the one of the greatest orchestra builders that Russia ever produced, and his influence on Russian music in performance can still be felt today.
Hermann Bischoff Liszt Werner Andreas Albert Staatsphilharmonie Rheinland Pfalz
The Symphony has 4 movements: I. Sehr schnell und feurig II. Sehr ruhig und getragen III. Presto IV. Allegro moderato (Etwas zögernd beginnen.) According to the composer himself: “The symphony by Hermann Bischoff is programme music, inasmuch as it is based on a unified poetic idea. However, only in the first movement does this programme have an influence on the formal development of the whole, while on the other hand, the other three movements take part in creating the atmosphere, similar to the Faust Symphonie by Liszt, in the development of the poetic thought. The formal development of the 1st movement can be easily understood if one keeps in mind that in place of the thematic treatment, in each case, a complete group of themes come up, identical in pitch, as well as the rather long-winded developments in the group of the 2nd movement, and, to be sure, with their occurrence as well as in the recapitulation are taken into consideration. Here the one group energetically rushing forward, there the jubilant group in the first movement could evoke in us the image of a young man joyous and intoxicated with life. A kind of fanfare motif concludes this group. Following it come the long, drawn-out alluring calls of the trumpets and horns which are interrupted by a walz-like theme. The group of the second theme now begins. A masquerade seems to surround the audience. Delicate, amorous chit-chat changes into stormy concupiscence. A figure resounding with the trombones and tub introduces a brief coda in which the themes of the first group are resolved one last time. Then comes an abrupt stop: painfully the first principle theme flares up as if it were disenchanted by all the meaningless activity. The stupor has vanished, and only nousea remains. After the mysterious tremolos of the violins, the swaying actives of the flutes and oboes, a completely new melody emerges. It is anticipated in the last movement and can be interpreted with ease as the apparition of a young female figure of pure innocence. In the beginning, it seems as if the youth in being so charmed would forget his past life, but then soon the motif of audacious desire is reawakened and namely completely unchanged. The second theme is, on the other hand, to be interpreted in a completely different way. We seem to find ourselves in a nocturnal park. The singing of birds and the gurghing of a fountain are intermingled with the murmuring of lovers. A lengthy-conceived coda concludes the movement. The second movement, which is done in the form of a first movement of a sonata, brings in the phase of self-searching full of rueful resignation. In the spectral scherzo it seems as if the ghost of misspent youth have come alive again. A broad alternative in G-sharp minor brings the sounds of the agony of despair. The last movement is rendered in brightly coloured tones. In essence, it brings a broad development of the melody already heard in the first movement. Its form is that of a free improvisation […] Now that the last movement up to its full development corresponds with the traditional structure of the symphony, it brings the second theme in radiant G-major, while the first theme is implemented only to elaborate the coda.” ((http•••) Performers: Staatsphilharmonie Rheinland-Pfalz / Werner Andreas Albert Score from IMSLP Audio from (http•••)
Franz Liszt Tito Ceccherini Maggio Musicale Fiorentino 2013
Franz Liszt Eine Faust Symphonie I. Faust (extract) Orchestra del Maggio Musicale Fiorentino Tito Ceccherini (Live in Firenze, 18.10.2013)
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