Franz Liszt - Orpheus, symphonic poem No. 4

Franz Liszt composed his “Orpheus“ in 1853-4, numbering it No. 4 in his cycle of 12 symphonic poems written during his time in Weimar, Germany. It was first performed on February 16, 1854, conducted by the composer, as an introduction to the first Weimar performance of Christoph Willibald Gluck’s opera “Orfeo ed Euridice“. “Orpheus“ is one of four symphonic poems Liszt composed as character sketches of men of creative genius, heroism or legend. (The other three poems are Tasso, Prometheus and Mazeppa.) In his preface Liszt describes an Etruscan vase depicting Orpheus, then extols civilizing effect on humanity. This reference to the ennobling effect of Orpheus and his art may have been derived from the Orpheus depicted by the Lyon philosopher Pierre-Simon Ballanche in “Orphée“ in 1829. “Orpheus“ is not a long work and takes the form of a gradual crescendo followed by a quiet ending which returns to the mood of the opening. Unlike many of Liszt’s other symphonic poems, the music here remains largely contemplative. For this reason, it became a favorite piece of Liszt’s son-in-law, the composer Richard Wagner. Formally, “Orpheus“ is a modified sonata form with a secondary key area containing two themes. The second theme lacks the energy of the first, remaining a static motif hovering over oscillating major and minor harmonies. Nevertheless, it contains an especially poignant quality. This theme is presented by various solo instruments to a primarily harp accompaniment. The orchestration, together with the style, suggests an interpretation of this theme as Orpheus’ voice. The ethereal, chromatic ascent in the final bars attenuates any decisive closure that could be expected from a more conventional harmonic resolution. Combined with the closing theme of the second group, this ends the work as a cryptic vision which recalls the final moments of Ballanche’s story. There the story’s narrator, Thamyris, witnesses Orpheus disappearing into the clouds, leaving mankind the task of developing his teachings of civilisation. Conductor: Bernard Haitink & London Philharmonic