For the latest instalment of this highly successful series, László Fassang and Pál Mácsai will select from the cream of Liszt's organ works. The stories recounted by the actor Mácsai are illustrated by the live organ music of Fassang. Here, George Sand recounts one of many colourful episodes: “Our most memorable excursion was to Fribourg, where Liszt wanted to look at the newly installed Mooser organ in the Cathedral of Saint Nicolas. The enormous instrument had 63 stops and 4,000 pipes. Liszt ...sat down at the organ and began a lengthy improvisation of the Dies Irae from Mozart's Requiem. The church resounded with the music. All of a sudden, the instrument stood before us in all its glory. The organ suddenly breathed out its soul in Liszt's hands. Then the bell tolled, calling the congregation to litany. Not even Mozart himself could have convinced the sacristan operating the foot pump to delay the ritual. I could have beaten him…” In addition to the Gluck opera, Liszt was inspired by an Etruscan vase he saw in the Louvre when he wrote Orpheus, his fourth symphonic work. Authentic performance of the piece requires the more modern organ capable of producing the symphonic sound of the 19th century onwards. Following the death of his 20-year-old son, Liszt poured all of his sorrow into Les Morts, an organ oration in 1861. His Legend in E major was arranged for the organ by Max Reger, the 19th century German master of the instrument. An “outside” melody inspired the great organ work Ad nos, ad salutarem undam, with the choral section deriving from the first act of the Meyerbeer opera Le prophète. The organ piece was written in Weimar in 1850, the year Liszt also conducted the première of Lohengrin. Presented by: Palace of Arts
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