In the clip below, conductor Mariss Jansons leads the Berlin Philharmonic in a spectacular and rousing performance of the overture to the opera Oberon by Carl Maria von Weber.
Weber’s music contains some of the earliest seeds of Romanticism. His orchestration was new and innovative. It mixed tonal colors in exciting ways and expanded the size and power of the orchestra. (Notice the trombones, which were a relatively new addition at the time). Berlioz referred to Weber in his influential Treatise on Instrumentation and Debussy remarked that the sound of Weber’s orchestra was “obtained through the scrutiny of the soul of each instrument.” Weber’s opera Euryanthe anticipated Wagner’s Leitmotif technique, in which a short, recurring musical phrase is used to represent a character or idea. Even twentieth century composers returned to Weber’s music. (Listen to Paul Hindemith’s Symphonic Metamorphosis, which is based on themes by Weber).
The Oberon Overture begins with a distant horn call and slowly awakening strings. Listen to the harmony at 1:15 and you’ll be reminded of yet-to-be-written Wagner. A few moments later at 1:33, we hear the playful laughter of Richard Strauss’ Till Eulenspiegel’s Merry Pranks. And then, after this sleepy and introspective opening, the music suddenly explodes into a fireball of virtuosity. A cast of characters comes alive through the instruments of the orchestra. The overture, which began so quietly, ends in a high-flying flourish of euphoria.
Oberon was first performed at London’s Covent Garden on April 12, 1826. The three act Romantic opera’s plot dates back to a medieval French story, Huon of Bordeaux. You can hear Maria Callas sing an excerpt from the opera here.
Forget Elvis. Franz Liszt (1811-1886) was the world’s first rock star. As a virtuoso pianist, Liszt toured Europe performing flashy and dazzling compositions such as the famous Hungarian Rhapsody No. 2. Following in the footsteps of Niccolò Paganini, Liszt helped to usher in the age of the romantic superstar concert artist. An atmosphere of almost supernatural ecstasy surrounded Liszt’s concerts. The hysteria of his fans, which included reports of women fainting and collecting locks of his hair, was known as Lisztomania. In 2008 the Alternative rock band Phoenix released this song and music video with references to Liszt’s rock star magnetism.
Even more significant and enduring was Franz Liszt’s contribution as one of the most innovative composers of the nineteenth century. His influence can be heard in Wagner, Mahler and beyond. He stretched tonality, creating atmospheric music which still sounds shocking and new.
Inspired by Goethe’s Faust drama, Franz Liszt wrote A Faust Symphony in Three Character Sketches in 1854. Hector Berlioz had just composed La Damnation de Faust which he dedicated to Liszt. Liszt returned the favor by dedicating his symphony to Berlioz. While Berlioz offered an operatic re-telling of the drama, Liszt’s music is a psychological exploration of the characters of Faust, Gretchen and Mephistopheles. Liszt developed a compositional technique known as thematic transformation in which a musical idea develops throughout the composition by undergoing various changes. Wagner used this technique in his operas, assigning each character a leitmotif. Thematic transformation also occurs throughout John Williams’s Star Wars film scores.
Let’s start off by listening to the first movement of the Faust Symphony. Consider how the music evokes the character of Faust, from his gloomy daydreams, to his insatiable thirst for knowledge, to his immense appetite for the pleasures of life. At times, the music may seem schizophrenic, alternating between intense excitement and quiet melancholy. Pay attention to the haunting opening motive which uses all twelve notes of the chromatic scale. What atmosphere does this opening music create? Notice how this motive returns in various guises throughout the movement (6:13, 10:40, 15:59 and 25:58 for example).
Here is a really exciting 1960 studio recording by Leonard Bernstein and the New York Philharmonic:
Did the opening motive make you feel lost, as if you were wandering through a slightly unsettling dream? The symphony is in C minor, but this motive’s chromaticism makes it impossible to get a sense of any key. It anticipates the twentieth century twelve tone music of Schoenberg, Berg and others. Maybe you also heard echoes of Wagner’s Tristan and Isolde (0:30-0:37) or Mahler’s symphonies (the stopped horns at 13:22), or a Bernard Herrmann film score (17:06).
In the first analysis of the Faust Symphony (from 1862), Richard Pohl suggests that the motives of first movement relate to “Passion, Pride, Longing, Triumph and Love.” (See the Introduction to the Dover score).
For me there are many aspects of this seldom heard piece which I find exciting: the ferocious string passages, the sudden and transformative modulation to C major at 20:13, Liszt’s use of relatively new additions to the orchestra such as harp, trombones and tuba. There are soaring, heroic moments like 11:44 (and 24:38 in the recapitulation) where trombones add a completely new dimension to the sound. At 25:06 the prominent use of trombones also evokes the instrument’s supernatural connotations. In the final bars of the movement there is something ominous about the descending and ascending chromatic line (25:58).
The second movement, in A-flat major, captures the innocence of Gretchen. Gradually Faust’s themes from the first movement creep in (beginning at 36:07) and eventually merge into a love duet. In the introduction of the Dover edition of the score, Dr. Alan Walker writes:
[quote]The gentle simplicity of both Gretchen themes belies the fact that they will later become transformed into the “Redemption” motifs in the choral setting of the “Chorus Mysticus” [the final movement].[/quote]
Mephistopheles, or Satan, represents “the spirit of negation”, destruction rather than creation. In the third movement Liszt does not give Mephistopheles his own motives. Instead we hear Faust’s motives from the first movement mocked, caricatured and ultimately torn apart. Only the innocent Gretchen can withstand Mephistopheles’s power. Her themes remain intact (56:38), as we heard them in the second movement.
At the end of the third movement, notice the stunning falling chromatic harmonic sequence (beginning after 1:02:07). In the final measures Liszt again uses the solemn supernatural color of the trombones (1:03:25).
Three years after completing the first three movements, Liszt added the climactic Final Chorus for male chorus. In the final measures, the entrance of the organ creates a new, expanded and transcendent sound world. This anticipates Mahler’s use of organ in the Second and Eighth Symphonies. The text is taken from Goethe’s Faust:
[quote]Everything transitory is only an allegory; what could not be achieved here comes to pass; what no one could describe, is here accomplished; the Eternal Feminine draws us aloft.[/quote]