Snatches of the old Russian folk song are heard and the orchestra whips itself into a grand ending.
The dozen symphonies Haydn wrote for Johann Peter Salomon, the impresario that coaxed Haydn to come to London, represent Haydn at his best. They are the culmination of many years of composition and Haydn made sure that they were the finest he could produce, twelve masterpieces of the symphonic form that were written in London and Vienna over a five year period, for performance at Salomon's concerts. Haydn made two visits to London, each time an extended stay that saw him not only giving concerts but meeting all kinds of people and being lavishly entertained at parties. He was a celebrity, the most famous composer in Europe at the time. He was a composer with a huge reputation that he was not aware of, due to his being isolated in the Esterhazy palace in the woods of Hungary. But his music had been known by many, and the English were particularly taken with his music.
Along with his Faust Symphony (finished in 1854) these two works are more like groups of related tone poems than symphonies, at least in structure. The Faust Symphony to me is a more balanced work, the three sections having much more in common with each other in material and length. The Dante Symphony's strongest movement to me is the first one, Inferno. The second movement is also very good, but the very short Magnificat that follows it tends to throw the last two thirds of the work out of balance to my ear. That doesn't mean the Magnificat isn't good, it most certainly is and is very innovative in Liszt's use of the whole tone scale. Perhaps if Liszt had kept to his original plan for a Paradise movement the work many have been even better.
Inferno begins with a depiction of the gates of hell itself with a slow introduction for brass. Liszt repeats the motif 4 times, each time slightly varied and the first three lines and the ninth line written on the gates of hell are written over the notes in the score:
Through me is the way to the sorrowful city,
The music picks up momentum as it hurtles through the circles of hell until the final horrible vision of Satan himself is seen chewing on the bodies of the damned. The music builds into a loud, shrill climax, then with five chords the bottom falls out and the music ends.
I first hear this symphony more than thirty years ago, and Inferno has been one of my favorite pieces ever since, and it made me a 'fan' of Liszt. It was my introduction to Liszt besides the Hungarian Rhapsody No. 2 I heard Bugs Bunny play in the old cartoons. The power of the piece, the sheer visceral reaction from the loudness of the beginning and end coupled with the tenderness of the middle Francesca da Rimini section still sends chills up the back of my neck. And I do admit that it is the Inferno movement I listen to the most. The other two movements seem anti-climatic to me. I do better to listen to them without the first part. Haydn - Symphony No 44 'Trauer', Brahms - Symphony No. 4, Brahms - Symphony No. 4
The dozen symphonies Haydn wrote for Johann Peter Salomon, the impresario that coaxed Haydn to come to London, represent Haydn at his best. They are the culmination of many years of composition and Haydn made sure that they were the finest he could produce, twelve masterpieces of the symphonic form that were written in London and Vienna over a five year period, for performance at Salomon's concerts. Haydn made two visits to London, each time an extended stay that saw him not only giving concerts but meeting all kinds of people and being lavishly entertained at parties. He was a celebrity, the most famous composer in Europe at the time. He was a composer with a huge reputation that he was not aware of, due to his being isolated in the Esterhazy palace in the woods of Hungary. But his music had been known by many, and the English were particularly taken with his music.
Along with his Faust Symphony (finished in 1854) these two works are more like groups of related tone poems than symphonies, at least in structure. The Faust Symphony to me is a more balanced work, the three sections having much more in common with each other in material and length. The Dante Symphony's strongest movement to me is the first one, Inferno. The second movement is also very good, but the very short Magnificat that follows it tends to throw the last two thirds of the work out of balance to my ear. That doesn't mean the Magnificat isn't good, it most certainly is and is very innovative in Liszt's use of the whole tone scale. Perhaps if Liszt had kept to his original plan for a Paradise movement the work many have been even better.
Inferno begins with a depiction of the gates of hell itself with a slow introduction for brass. Liszt repeats the motif 4 times, each time slightly varied and the first three lines and the ninth line written on the gates of hell are written over the notes in the score:
Through me is the way to the sorrowful city,
The music picks up momentum as it hurtles through the circles of hell until the final horrible vision of Satan himself is seen chewing on the bodies of the damned. The music builds into a loud, shrill climax, then with five chords the bottom falls out and the music ends.
I first hear this symphony more than thirty years ago, and Inferno has been one of my favorite pieces ever since, and it made me a 'fan' of Liszt. It was my introduction to Liszt besides the Hungarian Rhapsody No. 2 I heard Bugs Bunny play in the old cartoons. The power of the piece, the sheer visceral reaction from the loudness of the beginning and end coupled with the tenderness of the middle Francesca da Rimini section still sends chills up the back of my neck. And I do admit that it is the Inferno movement I listen to the most. The other two movements seem anti-climatic to me. I do better to listen to them without the first part.
Haydn - Symphony No 44 'Trauer', Brahms - Symphony No. 4, Brahms - Symphony No. 4