Liszt / Wagner Concert Program

Liszt / Wagner Concert Program Notes

Richard Wagner: Born in Leipzig on May 22, 1813, Wagner's "official" father died six months later and he was cared for by his mother and her lover -- and possibly his biological father -- Ludwig Geyer (Millington, par. 2). At the age of twenty. Wagner was installed as the chorus master in the first theatre built in Wurzburg, where he also began writing his first operas, including both the music and librettos, a habit which he would keep up for the rest of his life (Millington, par. 6). Wagner was known not only as a composer but also as a theatrical director and, as a librettist as well, his operatic creations were largely under his own control and achieved new levels of drama, such that they came to be called "music dramas" rather than operas later in his life (Millington, par. 34). He is also remembered for his anti-Semitism, which seems to have stemmed in large part to the financial difficulties that plagued Wagner for much of his life, and at least one Jewish patron to whom he was supposedly indebted (Millington, par. 28). Debt was one of the reasons Wagner was so eager for this concert to take place, as he was by some accounts 10,000 taler in debt at this point (Millington, par. 37). He lived in his native Germany, as well as in London briefly and Zurich for an extended period before eventually moving to Vienna where he died February 13, 1883 (Millington, par. 79).

Franz Liszt: Though born October 22, 1812, in Hungary, Franz Liszt grew up unable to speak the ethnic Magyar language and, like many other Hungarians living in the region adjacent to Austria, spoke German as his native tongue (Walker, sec. 1). Despite this, Liszt often championed Hungarian causes and wore traditional Hungarian outfits at many of his concerts in symbolic -- though explicit -- protest against Austrian domination of his country (Walker, sec. 1). His father was a fairly well-known musician, and Liszt showed early primes learning the piano at seven, composing at eight, and appearing in his first concerts at the age of nine (Walker, sec. 2). Eventually, Liszt would come to be called the greatest pianist of all time, and many today still believe the truth of this (though without much evidence, it must be admitted) (Walker, sec. 5). The young Franz's abilities earned the attention of some rich patrons, who financed his musical education and sent the family abroad (Walker, sec. 2). When his father died, Liszt quit touring and supported he and his mother in Paris by giving piano lessons (Walker, sec. 2). This also marked the beginnings of his lifelong conflict between religious callings and worldly pleasures; Liszt took up smoking and drinking, fell in love quickly and completely, and at the same time spoke with several religious men about his strong desire to find God and religion (Walker, sec. 2). Liszt was also a great patron of other artists, both financially and by conducting and/or performing their works in his popular concert, revitalizing old music and increasing awareness of new works; Wagner was a special favorite of his (Walker, secs. 13-14). Liszt's life of near constant travel took a continual toll on his health, and the concert at hand was postponed for a week in order for Liszt to be able to make the journey to Zurich (Glasenapp and Ellis, pp. 451). Ten years after this concert, another illness combined with another journey proved fatal; Franz Liszt died in his room in Bayreuth on July 31, 1866, after a protracted bout with what was diagnosed as pneumonia (Walker, sec. 27).

Concert Significance: This concert was held in St. Gallen, Switzerland, on November 23, 1856, in what is described by the program as the Hall of the Library building in the new schoolhouse. Specific information about the particular venue for this concert could not be found, although it was very likely not the famous library at the Abbey of St. Gallen that is referred to by the program, as this site would have undoubtedly been more specifically mentioned given its fame. On the other hand, such renown might have rendered the specific naming of the venue unnecessary, though the mention of the new schoolhouse also suggests that the Abbey, which was the oldest structure in St. Gallen, was not the site of the concert.

St. Gallen was a new frontier for Wagner, as well; a virtually unknown conductor named Sczandrowsky conducted a short excerpt of one of his pieces there in February of the same year to tremendous success, and quickly began soliciting more music and the possibility of a concert from Wagner (Glasenapp and Ellis, pp. 449). Sczandrowsky was also the organizer and producer (though not sole financial backer) of the concert, making him central to bringing Wagner -- and through Wagner, Liszt -- to St. Gallen, broadening the appreciation of the former's music even more by using Liszt's renown to draw crowds to what was only the second of Sczandrowsky's subscription concerts (Glasenapp and Ellis, pp. 450). This concert was historically significant in that it was the first appearance of Wagner at St. Gallen, and the first tie any of his full works were heard there (Glasenapp and Ellis, pp. 449). It did not lead to any major career shifts for either Liszt or Wagner, though the wider audience both men achieved with their continual appearances abroad certainly led to an increase in performance offers and requests. Other than that, the main historical significance of this concert is the illustration of friendship and patronage that extended form Liszt to Wagner, and the unity in the philosophy and theory of music that the two men jointly employed (Glasenapp and Ellis, pp. 195-6). Liszt never wavered in his support of Wagner, nor Wagner in his appreciation (Millington, par. 46).

Switzerland itself has a lot of cultural significance; though it did not produce many incredibly well-known composers, its political set up and general financial prosperity during the nineteenth century allowed for a flourishing of culture. The textile industry was largely the cause of this prosperity, especially in St. Gallen. The country's borders and neutrality in international affairs had been permanently established in 1815, and have not changed to this day. This also allowed for increased prosperity, especially within the borders of the country, as this precluded any colonial ambitions that seemed such a major part of other European powers' policies.

The Music: Wagner had actually suggested a specific program line-up to Sczandowsky, and the several of the pieces he listed are included in the program, though not in the order he expressed an initial desire for. The first half of the program consisted of Franz Liszt conducting his own symphonic poem "Orpheus," which was followed by Herr Sczandowski conducting two pieces composed by Gluck, selections from Armide and Iphigenia in Aulia, sung by a Frauleine Stehle. The specific excerpts are not mentioned. It is possible that these latter pieces had been arranged by Wagner, as he had admired Gluck and made several re-arrangements of his pieces, including "Iphigenia," but the program does not provide this detail (Millington, par. 3). Following this, Liszt again took the conducting stand to take the orchestra through another of his symphonic poems, Les Preludes. The second half of the program was devoted to Beethoven's Sinfonia eroica, the Heroic Symphony (Symphony No. 3), conducted by Wagner. This very likely shows Liszt's influence, as he was a great admirer and performer of Beethoven.

Liszt's Orpheus had been written only two years prior to the concert, as one of the twelve symphonic poems he wrote while living and teaching in Weimar (Walker, sec. 15). The piece is not very long, and taken as a whole represents a long crescendo that returns at the end to the quiet mood with which the piece opened (Walker, sec. 15). Orpheus, like several other of Liszt's symphonic poems -- all of which were inspired by "extra-musical" sources -- contained protagonists caught in a conflict between faith and desire, a conflict with which Liszt greatly identified and which is very apparent in the music of this piece and others (Walker, sec. 15).

Armide was first performed in 1777; it was written sometime in the previous year or two and was the fourth of Gluck's Parisian operas, with which he challenged French composers of the day with his own Bohemian-influenced style (Brown, sec. 6). Armide presented an even more direct challenge, as he used the same libretto for the opera that had been used a century earlier by Lully (Brown, sec. 6). Iphigenia in Aulis was composed by Gluck for a ballet in 1773, and the piece was praised for being "as long as it is sad" (Brown, sec. 4).