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Notes on the Program
Franz Liszt (1811-1886), Austro-Hungarian by birth, originated the cult of the celebrity performer, concertizing throughout
Europe from the age of 12. He was the first musician to play from memory and the first to present a piano recital without
orchestra. Although he scandalized the church with his flagrant love affairs and numerous illegitimate children, Liszt
was a devout Catholic who even studied for the priesthood. In 1847 Liszt opened a music institute in Weimar and devoted
himself to composing, conducting, teaching and promoting the music of living composers, including Wagner (Liszt’s
friend and son-in-law), Berlioz, Chopin and Verdi. Most of his enormous output was written for piano, organ or orchestra,
but he also wrote nearly 100 choral works, rarely heard today.
Dr. Shapiro designed tonight’s concert to reveal “the fascinating duality of Liszt.On the one hand he was
a publicity hound, ladies' man, and virtuoso showman. On the other hand he was deeply spiritual. He brought great energy
to both aspects.” Each work on the program is illuminated by excerpts from Liszt’s own prodigious writings.
The Missa Choralis was composed in Rome in 1865, when Liszt became inspired by Palestrina’s luminous sacred
choral music of the 16th century. We hear a remarkable confluence of Renaissance serenity and Romantic angst in
the selections performed tonight.
Liszt’s setting of Psalm 13 depicts the transformation from despair to gratitude, with the tenor soloist
leading the chorus like a cantor leading the congregation. As Liszt described this solo in a letter to a friend: “With
it I have let myself sing and have drunk in the offspring of King David in flesh and blood.”
The Arbeiterchor (Workers’ Chorus), written for male chorus and baritone, was unpublished in Liszt’s
lifetime. His inspiration derived from the Masonic religious movement, the Hungarian uprising against the Hapsburg monarchy
and the early socialist philosophies of the 18th century. Now we hear it as an uncanny forerunner of Bolshevik anthems,
with its rousing march calling laborers to unite for liberation.
Liszt is most celebrated for his spectacular keyboard compositions, interpreted tonight by MCC’s close musical friends
Mark Cook, Karin Gargone, Charles Harris and Vladislav Kovalsky. According to Dr. Shapiro, “the organ pieces, which
are hugely challenging to play, bridge the gap between spirituality and secular virtuosity, offering technical display
in a sacred context, whereas the Mephisto Waltz, as its name implies, is devilishly exciting and secular.”
Liszt’s first Mephisto Waltz (one of four composed) is based on a village wedding scene in Faust by
Nikolaus Lenau. Mephistopheles brings Faust to a wedding party and borrows a fiddle from the band. He plays a frantic erotic
dance, inducing Faust to elope with the bride. The sensuous lyricism of Liszt’s music has been transcribed for orchestra,
solo violin and piano four hands. The piano solo version has been championed by performers from Liszt himself to Vladimir
Horowitz, Van Cliburn and numerous modern pianists.
--Susan Metz
© 2007, The Monmouth Civic Chorus |
