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Liszt conducted his own work possible, and whenever possible and he made no exception of this concert. The popularity of the two pieces was already well established; the score to Les Preludes had been published earlier in the same year as this, though it is likely that the pieces had not been heard in St. Gallen before as this is the first recorded visit of Liszt to the town since writing the pieces (Walker, sec. 6).
The final piece, Beethoven's Third "Heroic" Symphony, had been composed in 1803-4 in honor of Napoleon, which made the choice somewhat ironic given tat the confederacy of cnatons that makes up Switzerland chaffed heavily under the republic enforced by the conquering emperor ("Eroica"). Still, it provided a rousing finale to the program, and no doubt sentiments had cooled somewhat since the re-establishment of the confederacy and wider European neutrality.
No additional advertisements or reviews were located regarding this concert, so additional information pertaining to the specific reception of these performances is unavailable. All of the necessary details regarding the performance before it happened are located on the program,...
Doubtless having heard of both the conductors and the composers listed on the program, there is little doubt that Herr Sczandowsky sold his concert well.
Works Cited
Brown, Bruce Alan and Julian Rushton. "Gluck, Christoph Willibald Ritter von." Grove Music Online. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/11301pg4.
Eroica' Symphony." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2312.
Glasenapp, Carl Friedrich, and William Ashton Ellis. Life of Richard Wagner. London: Kegan Paul, Trench, Trubner & Co, 1908.
Millington, Barry, et al. "Wagner." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 11 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/O905605pg1.
Walker, Alan, et al. "Liszt, Franz." Grove Music Online. Oxford Music Online.…
Works Cited
Brown, Bruce Alan and Julian Rushton. "Gluck, Christoph Willibald Ritter von." Grove Music Online. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/11301pg4.
Eroica' Symphony." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e2312.
Glasenapp, Carl Friedrich, and William Ashton Ellis. Life of Richard Wagner. London: Kegan Paul, Trench, Trubner & Co, 1908.
Millington, Barry, et al. "Wagner." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 11 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/O905605pg1.
Walker, Alan, et al. "Liszt, Franz." Grove Music Online. Oxford Music Online. 12 Mar. 2009 http://www.oxfordmusiconline.com/subscriber/article/grove/music/48265pg1.
Les Preludes and Hamlet represent the pianist's symphonic poem. (Gmoser 72) Liszt also left his mark on operatic paraphrases for solo piano. Compared to the other composers, who were writing flashy introductions, Liszt's paraphrases and fantasies on operas were a "bolt of lightening against the flicker of a candle. He threw themes together in a contrapuntal melange; he changed harmonies; he exploited to the utmost every technical resource of his
" This he maintained was the highest honor he could claim. " (Seroff, 1956, 113) Some of the melodies that Claude Achille Debussy created for example the C'est l'Extase' -- based on the ninths and series of common chords has continuous modulations which are embedded with a lot of changing tones and may have been symbolic of a breeze and the sounds of small voices. Like wise the use of rhythmic