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A Liszt Programme

Synopsis

We have produced a Style Guide to help editors follow a standard format when editing a listing. If you are unsure how best to edit this programme please take a moment to read it.
(Born in Hungary, 1811 ; died at Bayreuth, 1886) BELLA BAILLIE (Soprano) ; ERWIN SCHULHOFF (Pianoforte) ; THE WIRELESS SYMPHONY ORCHESTRA, conducted by PERCY PITT
ORCHESTRA
Artists' Festival Procession
Liszt wrote this festal piece for the celebration
In 1839 of the centenary of the birth of the poet Schiller.
BELLA BAILLIE , with Orchestra
Prayer from ' The Legend of Saint Elizabeth'
SCHULHOFF, with Orchestra
First Pianoforte Concerto
LISZT'S First Concerto had a distinguished send-off, for at its first performance, in 1855, he himself played the Solo part and Berlioz conducted.
It has three Movements (the first comprising a quiet and a slow section), all of which are joined together; and some of the chief themes appear more than once.
FIRST MOVEMENT (Quick, with majesty).
The First Main Tune is given out by the Full Orchestra. After a quieter section for tho Piano, the slow Second Main Tune is heard in the Strings, gently rising and falling, before being given out by the Solo instrument. The Flute and, immediately after it, the. Clarinet, have a Third Tune (which is to be heard again in tho Last Movement).
SECOND MOVEMENT. (Fairly quick, vivacious).
Tho Triangle is much used here. It introduces a new Main Tune, which Strings expound. This Movement, in a gay and capricious spirit, leads again without interruption into the THIRD MOVEMENT (Quick, martial, animated)
Beginning with the Slow melody we heard before, we have next the Flute's Third Tune, and changed but quite recognizable versions of the melody of the vivacious Movement.
ORCHESTRA
Symphonic Poem, 'Orpheus '
THE basic idea of this, the fourth of Liszt's Symphonic Poems, came into the Composer's mind in 1854, when he was conducting rehearsals of Gluck's Orpheus.
Ho thought of a representation he had seen of the ' first poet-musician,' on an Etruscan vase in the Louvre at Paris, and, pondering upon the mastery that Orpheus exercised over wild beasts, he tried in his work (to use his own words) ' to picture the serene, civilizing character of the melodies which beam forth from every work of art; their suave energy, their august dominion, their sonorousness, that fills the soul with noble ecstasy, their undulations, soft as the breezes of Elysium, their gradual rising. like clouds of incense, their clear azure ether, enveloping the world and the whole universe as in an atmosphere, as in a transparent garment of ineffable and mysterious harmony.
BELLA BAILLIE
Dio Lorelei
SCHULHOFF
Don Juan Fantasie
ORCHESTRA
First Hungarian Rhapsody
LISZT'S First Rhapsody begins with a dignified section (corresponding to the Lassan of the gipsies) containing two Main Tunes. The First is in a minor key, and the Second resembles the well-known Rakoozy March (with Berlioz's treatment of which most listeners are familiar).
Next comes a lively section in the style of the gipsies' Friska dances. The music works up in speed and brilliance, the First Main Tune occurring again, and a fourth Tune appearing before the exciting finish of the work.

Contributors

Soprano: Bella Baillie
Soprano: Erwin Schulhoff
Conducted By: Percy Pitt
Unknown: Bella Baillie
Unknown: Bella Baillie
Unknown: Dio Lorelei
Unknown: Don Juan Fantasie

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Feedback about A Liszt Programme, 2LO London, 21.20, 27 March 1927
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