FRANZ LISZT - nca - new classical adventure

the themes of the work are interrelated through
their derivation from one single basic motif, a fournote
figure that lies within the range of a fifth,
in effect two intervals of a second (upwards from
the starting note and from its fifth downwards).
The many possible variations and combinations
of this basic pattern (semitone shifts, changes in
interval, inversions, etc.) are adapted to the various
expressive requirements. The “Voice of Nature”
is rhythmically strongly marked, while that of
suffering humanity finds its agonising expression
in heavily forced sighs and chromatic brass figures.
These two contrasting subjects are closely woven
programmatic procedure occurs twice, a “double
course”, in which the second section forms a
varied “meta-development” of the first. At the
close the chorale is again intoned. By providing
a parallelism between two similar plots Liszt is
evidently concerned to symbolise musically the
relentlessness of elementary events and constantly
recurrent cosmic processes. The process seems to
want to begin yet again for a third time. However,
after the chorale Liszt adds a large question mark
– a short concluding passage that brings the work
to its uneasy pianissimo end.
thereafter without any changes joined the series
of symphonic poems as no. 4. As can be read in his
programme foreword to this piece, Liszt’s intention
was to represent in music the mythical character
of the Greek singer and with him the myth of
music itself, prior to the actual performance of the
opera. Orpheus is depicted here as a symbol of the
civilising and softening influence of music with no
direct allusion at all to Gluck’s opera.
“There was a reawakening of memories of an
Etruscan vase in the Louvre, on which the first
poet-musician is depicted with the mystical, royal
circlet about his brow, draped in a cloak strewn
“Orpheus” is one of Liszt’s most beautiful and
poetic orchestral compositions, sublime in tone,
great yet simple, and interwoven throughout with
lyrical feeling. The myth of music brooks no hint of
conflict within itself. In a letter to Alexander Ritter,
a musician and composer belonging to Wagner’s
family circle, Liszt pointed out “that ‘Orpheus’ has
no actual development section and is quite simply
suspended between pleasure and pain, expressing
the reconciliation in art in a sigh of relief.” The
structure of the work is simple, a large A-B-A
form with few contrasts. After the introduction to
sounds of the harp the main theme that represents
together and developed in accordance with the
with stars, his lips forming words of sacred songs,
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programme. Their intrinsic opposition is however
Orpheus
Symphonic poem No. 4 for large orchestra
and striking the lyre with a powerful motion of his
Orpheus appears. A central section, in which a
motif derived from the main subject is constantly
expressed in one element not to be found in Victor
Hugo’s poem, which Liszt introduced somewhat
“high-handedly” in the form of a recluse living
on the mountain, symbolised by the andante
religioso of a chorale that hints at the resolution
of antagonisms in religious principles without, it
must be said, providing a “solution”.
Quite the opposite; it has been considered
a weakness of the piece that the whole
Inspiration for the fourth symphonic poem came
to Liszt when he was rehearsing Gluck’s opera
“Orfeo ed Euridice” for the Hoftheater at Weimar.
Composed in 1853-54 the piece was given its
first performance on 16 February 1854 as the
festive prelude to a gala performance of the
opera to celebrate the birthday of the Weimar
Regent, the Archduchess Maria Pawlowna, and
finely formed fingers. The very rocks seem to listen
and be moved, and from cold hearts flow a few
burning tears.”
This image seems to have been ever present during
the composition, which is wholly governed by
the sound of the harp. Through the use of harps
in the score, a modern equivalent of the ancient
instrument, Orpheus playing the lyre appears
before the audience in a musical representation.
spun out, leads to the triumphant recapitulation of
the first subject. (It is quite possibly this technique
of sustainably spinning out one motif over long
stretches that so fascinated Wagner while working
on the second act of his “Tristan” that led him
to make special mention of “Orpheus” in a now
famous letter referring to the symphonic poems.)
Then follows the coda that belongs to the most
puzzling of anything Liszt ever wrote. At first the
english