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Liszt - Elsas Brautzug zum Münster, S445/2 (William Wolfram)
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"In your last letter you ask me to tell you about Wagner. There would be much to say. Wagner by himself through his books…and his three dramas—The Flying Dutchman—Tannhäuser and Lohengrin—has done the work of a whole body of engineers and sappers. It will be at least a dozen years for his ideas to be digested and for the seeds he has sown to rise up and produce their harvests."—letter from Liszt to his cousin Eduard Liszt, 1854.
This piece (dated from 1852) comes from the opera of Wagner (specifically Lohengrin) whose long and storm-tossed friendship with Liszt is one of the most complex in musical history; Liszt’s enthusiasm and financial and practical support for the living composer he most revered is very well documented, as is the fact of Liszt’s being entrusted with producing and conducting the first performances of Lohengrin since Wagner was in exile on pain of death after his prominent support of the 1848 revolution (typically, Liszt received small thanks from Wagner for his efforts). For some reason, Liszt issued this transcription of Elsa’s Bridal Procession with his flamboyant account of the ‘Entry of the Guests’ from Tannhäuser, with which it scarcely belongs, so that will be scored (at some point) separately. Wolfram gives an impassioned rendition.
This piece (dated from 1852) comes from the opera of Wagner (specifically Lohengrin) whose long and storm-tossed friendship with Liszt is one of the most complex in musical history; Liszt’s enthusiasm and financial and practical support for the living composer he most revered is very well documented, as is the fact of Liszt’s being entrusted with producing and conducting the first performances of Lohengrin since Wagner was in exile on pain of death after his prominent support of the 1848 revolution (typically, Liszt received small thanks from Wagner for his efforts). For some reason, Liszt issued this transcription of Elsa’s Bridal Procession with his flamboyant account of the ‘Entry of the Guests’ from Tannhäuser, with which it scarcely belongs, so that will be scored (at some point) separately. Wolfram gives an impassioned rendition.
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