Wagner – A Faust Overture Liszt – A Faust Symphony
own “Faust” Symphony, which was originally completed in 1854 Indeed, it is possible to see in Wagner’s overture a prelude to Liszt’s symphony, whose three movements musically evoke the three lead characters in Goethe’s “Faust”: Faust, Gretchen and Mephistopheles The work concludes with a male chorus and tenor
Franz Liszt: (1811-1886): The Two Episodes from Lenau’s Faust
Faust for the Weimar celebrations of the centenary of Goethe’s birth He also heard Berlioz conduct in 1852 a performance of his La Damnation de Faust 2 No doubt all this contributed to the germination of Liszt’s own plan for his Faust Symphony of 1854, based on the characters in Goethe’s Faust
FAUST TH CENTURY ORCHESTRAL MUSIC LA FAUST SYMPHONY (1856
FAUST & 19 TH CENTURY ORCHESTRAL MUSIC LA FAUST SYMPHONY (1856) FRANZ LISZT (1811 -1886) In Three Character-pictures For Tenor, Male Chorus and Orchestra >Dedicated to Berlioz >Composed during Liszt's years of service as court composer to the Duchy of Weimar Liszt's patron at Weimar was the grandson of Goethe's Duke, and he specifically
Liszt’s germinal motive in his Les Preludes
Franz Liszt used in his orchestral works (most important: the "Faust" and "Dante" symphonies and the thirteen Symphonic Poems), Berlioz’s idea of connecting a leading theme with a character of his drama In the "Faust Symphony," for example, the first movement presents in four themes a picture of Faust: his despair and
Sentences, Sentence Chains, and Sentence Replication: Intra
Cinnamon, “Classical Models, Sonata Theory, and the First Movement of Liszt’s Faust Symphony,” Gamut 4 (2011), 53−92 5 Caplin defines intrathematic formal functions as “[t]he constituent formal functions of a theme (or theme-like unit),“ and interthematic functions as “[t]he
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