Liszt and Wagner: 1856 St. Gallen Concert Program Notes

Richard Wagner: Biographical Background

Richard Wagner was born in Leipzig on May 22, 1813. His "official" father died six months later, and he was raised 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 chorus master in the first theatre built in Würzburg, where he also began writing his first operas, composing both the music and the librettos — a habit he would keep for the rest of his life (Millington, par. 6). Wagner was known not only as a composer but also as a theatrical director and librettist; 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 from the financial difficulties that plagued him for much of his life, and from his relationship with 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; by some accounts he was 10,000 taler in debt at this point (Millington, par. 37). He lived in his native Germany, as well as briefly in London and for an extended period in Zurich, before eventually moving to Vienna. He died on February 13, 1883 (Millington, par. 79).

Franz Liszt: Biographical Background

Though born on October 22, 1812, in Hungary, Franz Liszt grew up unable to speak the ethnic Magyar language and, like many 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 dress 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 promise: he began learning the piano at seven, composing at eight, and appeared in his first concerts at the age of nine (Walker, sec. 2). He would eventually come to be called the greatest pianist of all time, and many today still hold that view — though, it must be admitted, without much supporting evidence (Walker, sec. 5). The young Franz's abilities earned the attention of wealthy patrons, who financed his musical education and sent the family abroad (Walker, sec. 2).

When his father died, Liszt quit touring and supported himself and his mother in Paris by giving piano lessons (Walker, sec. 2). This period also marked the beginnings of his lifelong conflict between religious calling and worldly pleasure: he took up smoking and drinking, fell in love quickly and completely, and at the same time spoke with several clergymen 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 performing their works in his popular concerts, thereby revitalizing older music and increasing awareness of newer works; Wagner was a special favorite (Walker, secs. 13–14).

Liszt's life of near-constant travel took a continual toll on his health, and the concert discussed here was postponed for a week so that he could make the journey to Zurich (Glasenapp and Ellis, p. 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, 1886, after a protracted bout with what was diagnosed as pneumonia (Walker, sec. 27).

Concert Significance and Historical Context

This concert was held in St. Gallen, Switzerland, on November 23, 1856, in what the program describes as the Hall of the Library building in the new schoolhouse. Specific information about the particular venue could not be located, although it was very likely not the famous library at the Abbey of St. Gallen referred to in the program, as that site would almost certainly have been more specifically named given its fame. On the other hand, such renown might have made explicit naming unnecessary; the mention of the "new schoolhouse" also suggests that the Abbey — the oldest structure in St. Gallen — was not the concert site.

St. Gallen was new territory for Wagner as well. A virtually unknown conductor named Sczandrowsky had 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 full concert from Wagner (Glasenapp and Ellis, p. 449). Sczandrowsky was also the organizer and producer — though not the sole financial backer — of the concert, making him central to bringing Wagner, and through Wagner, Liszt, to St. Gallen. He broadened appreciation of Wagner's music further by using Liszt's renown to draw crowds to what was only the second of Sczandrowsky's subscription concerts (Glasenapp and Ellis, p. 450).

This concert was historically significant as Wagner's first appearance in St. Gallen and the first time any of his full works were heard there (Glasenapp and Ellis, p. 449). It did not lead to any major career shifts for either composer, though the wider audiences both men reached through their continual appearances abroad certainly resulted in more performance offers and requests. Beyond that, the main historical significance of this concert lies in its illustration of the friendship and patronage Liszt extended to Wagner, and of the unity in musical philosophy and theory that the two men shared (Glasenapp and Ellis, pp. 195–6). Liszt never wavered in his support of Wagner, nor Wagner in his appreciation (Millington, par. 46).

Switzerland itself carries considerable cultural significance. Though it did not produce many widely celebrated composers, its political structure and general financial prosperity during the nineteenth century allowed for a flourishing of cultural life. The textile industry was largely responsible for 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 stability also fostered increased prosperity within the country's borders, as it precluded the colonial ambitions that were so central to other European powers' foreign policies.