Liszt composed two symphonies in his life, both of which were inspired by literary works. These two symphonies are also very closely related to his life, especially the character Faust, who is very similar to Liszt in many aspects. When we introduce Liszt's "Faust Symphony", we will talk about his "Faust" and "Mephistopheles" characteristics. Liszt's splendid career as a performer and complicated love story formed a diverse personality, which made him known as the "devil" during his lifetime.
In 1830, through the introduction of Berlioz, Liszt read the French version of Goethe's poetic drama "Faust". Like Berlioz, he was deeply attracted by this great work and was inspired by the desire to create music. . He first wanted to write an opera, and later composed two "Mephistopheles" and the song "Song of King Thule". What really inspired Liszt's creative passion was the performance of Berlioz's "Legend of Music" "The Scourge of Faust" in Weimar. He decided to take a different approach and write a symphony about Faust.
Driven by a strong creative inspiration, Liszt completed this huge symphony in only two months, and set the premiere date on September 5, 1857 - Goethe and Schiller at the Weimar Theaterplatz Side by side statue inauguration day. On the day of the premiere, Liszt ended the symphony with the final "Mysterious Chorus" of the second Faust.
"Faust Symphony" has a subtitle - three musical portraits, and the whole piece is divided into 3 movements: the first movement "Faust", the second movement "Grisin" and the third movement "Mephistopheles".
The first movement "Faust" is an allegro with an introduction. Liszt designed 5 themes to show Faust's personality, corresponding to the 5 dimensions of Faust's life experience in the original book: knowledge, love, political life, art and career.
Before the presentation of the first theme, there is an introduction, which is played by the cello and viola from the bass area, as if Faust, a medieval tragic figure, came to us from the depths of history. With the addition of oboe, violin, clarinet and bassoon in turn, the theme with mysterious and gloomy colors began to be fully presented, and the image of an old pedant who lived in the study and pondered the mysteries of all things in the world also emerged little by little.
After some struggles, the slowly rising violin melody ushered in the second prototype of the second theme played by the oboe, with a bit of a shrill cry, expressing the passion and loneliness of Faust's love in the erratic tones. The bright and sliding tone of the woodwinds echoes the cello and double bass in the bass area, slowly forming a complete theme played by the entire band.
With the strong rolling sound of the timpani, the bassoon's pondering finally flashed a melancholy figure of Faust, but was immediately overwhelmed by the rushing third theme group. The violin flew fast, awakening the depressed and hopeless Faust. He stood up in the boiling band sound, ambitious to challenge the world. The music shows the strong fighting spirit of Faust, which is majestic and powerful. This theme has appeared several times in the subsequent development of the music. Its vigorous vitality vividly expresses Faust's expectations and longing for love and the future.
Liszt manuscript and former residence.
The emergence of the fourth theme is also very shocking. The powerful chords of the orchestra lead to the more restless trills of the strings and the brusque thumping of the brass, as if Faust's already roused spirit had turned into doubt and self-pity again, and on the way forward, he again. in a state of hesitation. Fortunately, there is still art and dreams, and Faust moves forward blankly. The ding-dong of running water rang in his ears, and under the bright moonlight, the night was as quiet as water, and Faust stepped into a dreamy wonderland.
Suddenly, like a horn beckoning, the softly played brass music awakened Faust in his dreams. The beautiful dream, the fairy of love, slowly disappears. The pursuit of a career, the reality of the grim struggle, reinvigorated Faust. The orchestra played the marching horn in unison. It was still the galloping strings that stirred up waves in Faust's heart. Faust sang tragically and heroically: "Pain! Joy! Failure! Success! I don't even ask, the man's career was supposed to be around the clock!" got the upper hand.
The second movement, "Grey Xin", is a "love movement" that is so beautiful that it is enchanting, heartbreaking, and heartbreaking. Liszt selected the most beautiful and innocent dimension of Grexin's character, and focused on the sweet and ecstasy love scene between Gretchen and Faust.
The movement begins with an introduction composed of flute and clarinet. This introduction is like a watercolor painting, fresh and quiet, and it brings people into paradise at once. In fact, it is Ge Lixin's pure and innocent heart. The sweet oboe sings a beautiful and euphemistic melody, which is accompanied by only the flowing sixteenth notes of a viola. Although it is solitary, it weaves a simple and beautiful pattern as decoration for this music. Faust, who was disturbed in his heart, couldn't help but exclaimed: "My God, what did I see! You are so beautiful, you are really an angel!"
Mephistopheles (right) in an illustration from Faust.
The second theme has a kind of shyness and playfulness that are unique to girls. Liszt made a note of "sweetness full of love" on the score.
The behavior of the devil Mephistopheles in the third movement "Mephistopheles" is actually depicting "another" Faust. The stringed instruments quickly rubbed and plucked the strings in the bass, rolled up gusts of gloomy wind, and the woodwinds whistled sharply. The band portrayed Mephistopheles' grotesque musical image in a playful way, and distorted Faust with the arrogance of denying everything. German theme, making it messy and weird.
Suddenly, the tremolo of the strings overshadowed Mephistopheles' frenzy. The floating colorful clouds sent Ge Lixin's beautiful love song. The music calmed down temporarily as the string group played out the theme of Gressian softly and softly. Before long, Mephistopheles had another whirlwind, throwing the music into chaos again. Several other themes of Faust also changed their appearances at this time, and they appeared one after another. At the climax, the band came to a strong end, and there was a momentary pause... Silence.
The bells came out of the sky—the trombone solemnly played new themes, the continuation of the organ and the tremolo of the strings. The broad melody that rises and falls on the same note has a solemn religious atmosphere. This is the "mystery chorus". The male chorus slowly sang the verse at the end of Goethe's "Faust" Part 2: The
world is impermanent,
nothing but a metaphor;
...... The
indescribable,
it has been completed here;
the eternal woman,
guide us up .
Against the background of the male chorus, the solo tenor sings the theme of Gregory, and the music finally takes the second theme of Faust as the keynote, gradually rising from the bass to the end.
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