Liszt’s E flat concerto, long the subject of scurrilous criticism
because forsooth a triangle was indicated in the score, has long been
the virtuoso concerto _par excellence_. But its virtuosity is of an
unusual order. It does not display its innate quality to the precise and
composed technician; it cannot be played complacently or casually. It
demands an audacious, unhesitating bravura, large rhetorical phrases,
bold accents, and a careless contempt for its difficulties. Its octave
_cadenzas_ suggest the remorseless dash of an eagle upon its prey.
* * *
This concerto was completed probably in 1848 or 1849, from sketches made
in the early ’forties. According to a letter of Hans von Bülow’s, the
concerto was completed in June, 1849. Revised in 1853, it was published
in 1857. The first performance was at Weimar, at a Court concert in the
hall of the Grand Duke’s palace (during the Berlioz week), on February
17, 1855; Liszt, pianist; Bülow, conductor. The concerto is dedicated to
Henri Litolff. The orchestral part is scored for piccolo, two flutes,
two oboes, two clarinets, two bassoons, two horns, two trumpets, three
trombones, kettledrums, cymbals, triangle, and the usual strings.
The form is free. A few important themes are exposed, developed; they
undergo many transformations in rhythm and tempo. The first and leading
theme is at once given out imperatively by the strings, with
interrupting chords of wood-wind and brass. This is the theme to which
Liszt used to sing: “_Das versteht ihr alle nicht!_”—according to Bülow
and Ramann, “_Ihr Könnt alle nichts_.” This theme may be taken as the
motto of the concerto. _Allegro maestoso, tempo giusto_, 4-4. The second
theme, B major, _quasi adagio_, 12-8, is first announced by muted
violoncellos and double basses and then developed elaborately by the
pianoforte. There are hints of this theme in the preceding section. The
third theme, E flat minor, _allegretto vivace_, 3-4, in the nature of a
_scherzo_, is first given to the strings, with preliminary warning and
answers of the triangle, which, the composer says, should be struck with
delicately rhythmic precision. The fourth theme is rather an answer to
the chief phrase of the second than an individual motive. The _scherzo_
tempo changes to _allegro animato_, 4-4, in which use is made chiefly of
the motto theme. The final section is an _allegro marziale animato_,
which quickens to a final _presto_.
The introduction of the triangle in the score caused great offense in
Vienna. Hanslick damned the work by characterizing it as a “‘Triangle’
concerto,” when Pruckner played it there in the season of 1856-57. It
was not heard again in that city until 1869, when Sophie Menter insisted
on playing it. Liszt wrote a letter in 1857 describing the concerto and
defending his use of the triangle.
CHARLES MARTIN
LOEFFLER
(Born at Mühlhausen [Alsace], January 30, 1861; died at Medfield,
Mass., May 19, 1935)
“A PAGAN POEM” (AFTER VIRGIL), OP. 14, FOR ORCHESTRA, PIANOFORTE,
ENGLISH HORN, AND THREE TRUMPETS OBBLIGATI
The music of the _Pagan Poem_ is highly imaginative. Its pages are pages
of beauty and passion. The strangeness of the opening is not forced or
experimental. The composer himself first saw in his mind’s eye the scene
and heard the sorcerer’s chant. And here is no love song of familiar
type given to caterwauling ’cellos. There is no conventional lament of
approved crape and tears. A dolorous theme, broadly and nobly thought,
is sung by the English horn. The spell works. Daphnis now hastens toward
the long empty and expectant arms. There is frantic and amorous
exultation.
In this instance a rich and rare orchestral dress covers a well shaped
and vigorous body.
* * *
This tone poem was suggested to Mr. Loeffler by certain verses in the
eighth Eclogue of Virgil, which is sometimes known as “Pharmaceutria”
(the Sorceress). The Eclogue, dedicated to Pollio, was written probably
in 39 B.C. It consists of two love songs, that of Damon and that of
Alphesibœus. Each song has ten parts, and these parts are divided by a
recurring burden or refrain. Alphesibœus tells of the love incantation
of a Thessalian girl, who by the aid of magical spells endeavors to
bring back to her cottage her truant lover Daphnis. Virgil helped
himself freely here from the second Idyll of Theocritus, “The
Sorceress,” in which Simaetha, a Syracuse maiden of middle rank, weaves
spells to regain the love of Delphis.
Mr. Loeffler does not intend to present in this music a literal
translation of Virgil’s verse into tones. The poem is a fantasy,
inspired by the verses.
The poem opens, _adagio_, 2-2, with a short motive, which, with an
inversion of it, is much used throughout the work. The first chief theme
is announced dolce, _mezzo-forte_, by viola solo and three flutes. It
may be called the theme of invocation. The latter half of it may be
divided into two motives, the first a phrase descending in whole tones,
the second a rising and falling wail. These two motives are used
separately and frequently in all sorts of ways. After the exposition of
this theme the pianoforte enters _fortissimo_ with a harmonized
inversion of the introductory motive; a _crescendo_ follows with use of
the foregoing thematic material, and a _glissando_ for the pianoforte
leads to an _allegro_, in which now familiar thematic material is used
until the second theme appears (first violins, harp, pianoforte). This
theme is developed. A pianoforte _cadenza_ built on thematic material
leads to a _lento assai_, 6-4, with a dolorous theme (No. 3) for the
English horn. The trumpets behind the scenes give out the burden of the
sorceress. The _più vivo_ section may suggest to some a chase of wolves
(“I have often seen Moeris become a wolf and plunge into the forest”).
_Tranquillo_: a fourth theme, 4-4, is given to the pianoforte.
_Calando_: the refrain is heard again from behind the scenes.
_Moderato_: the second chief theme, 6-4, now appears, and it is used
extensively. _Largamente_: the trumpets, now on the stage, announce the
coming of Daphnis, and there is the suggestion of the barking Hylax. The
ending is a fanfare of frantic exultation.
This poem, dedicated to the memory of Gustave Schirmer, was written
originally in 1901 for performance as chamber music.
In 1905 and 1906 the work was remoulded and treated much more
symphonically. The first public performance was by the Boston Symphony
Orchestra in Boston on November 23, 1927, Mr. Gebhard pianist.
The poem is scored for three flutes (and piccolo), two oboes, English
horn, two clarinets, bass clarinet, two bassoons, four horns, three
trumpets (and three trumpets off-stage), three trombones, bass tuba,
kettledrums, glockenspiel, tam-tam, harp, pianoforte, strings.
EDWARD
MacDOWELL
(Born in New York, December 18, 1861; died there, January 23, 1908)