Franz Liszt’s ‘A Faust Symphony’ is a monumental work that has had a somewhat mixed reception in the concert hall over the years. However, when it comes to recordings, the story is quite different. Thanks to the dedicated efforts of conductors such as Sir Thomas Beecham, Daniel Barenboim, Leonard Bernstein, and Iván Fischer among others, this fascinating composition has been well represented on disc. Thus collectors now have access to a wide array of recordings, each offering its own interpretation of Liszt’s ambitious symphonic portrayal of Goethe’s legendary characters.

The latest addition to this distinguished discography comes from the Orchestre Philharmonique Royal de Liège (OPRL) under the direction of their dynamic Hungarian Music Director, Gergely Madaras. As the first recording of ‘A Faust Symphony’ to be released in the SACD format, this issue from BIS is especially welcome.

Liszt’s encounter with Goethe’s Faust began in 1830 through his friend Hector Berlioz, who introduced him to the first part of the work. The initial inspiration for the symphony took root during Liszt’s years as an itinerant virtuoso in the 1840s. However, it was a performance of Berlioz’s ‘The Damnation of Faust’ in Weimar in 1852 that truly ignited Liszt’s creative imagination, compelling him to revisit and complete the symphony. Remarkably, Liszt composed the work in just two months between August and October of 1854, dedicating it to Berlioz as a tribute to their friendship and shared artistic vision. The full title, ‘A Faust Symphony in Three Character Sketches (after Goethe): 1. Faust 2. Gretchen 3. Mephistopheles’, reflects the tripartite structure of the symphony, with each movement exploring the distinct personalities of these iconic figures.

Originally, the symphony concluded with a purely orchestral finale. However, in 1857, Liszt added a coda featuring a powerful setting of the ‘Chorus Mysticus’ from the second part of Goethe’s Faust, scored for male chorus and tenor soloist. This addition, which serves as an uplifting and spiritual resolution to the drama, has been included in most recordings, making it for many a definitive and essential part of the work.

Gergely Madaras, however, makes a bold and intriguing choice in this recording by opting to perform the original 1854 version of the symphony, omitting the later choral addition. While this decision may surprise or even disappoint some listeners, it allows for a deeper appreciation of the symphony’s original conception and indeed, Madaras’s electrifying interpretation more than compensates for the absence of the coda. His meticulous attention to dynamics and phrasing is evident from the very beginning, as he carefully moulds the first important Faust theme – a striking melody that incorporates all 12 pitches of the chromatic scale. Throughout the movement, Madaras maintains a high level of excitement and intensity, skilfully developing Liszt’s concise yet memorable themes. While The OPRL may not possess quite the firepower of orchestras from say Berlin, Chicago and Boston, the eloquence and commitment of their performance is never in doubt.

The second movement, titled Gretchen (Andante soave), is a delicate and tender reverie, as the marking suggests. Under Madaras’s direction, the OPRL delivers exquisite wind solos, painting a vivid and intimate portrait of the character. In less capable hands, this movement can sometimes seem meandering or overlong, but Madaras ensures that it flows with a clear sense of purpose, capturing both the innocence and inner turmoil of the character.

The final movement, Mephistopheles, is equally captivating. The music is characterized for the most part by diabolic and sardonic transformations of Faust’s themes. Madaras draws biting, incisive playing and crisp articulation from all sections of the orchestra and engenders a palpable sense of malevolence that perfectly embodies the sinister nature of the character.

The conductor’s choice to use the original 1854 version of the symphony also provides room on the disc for an additional work: Liszt’s popular ‘Mephisto Waltz No. 1’, often referred to as ‘The Dance in the Village Inn’. His exhilarating and sensual performance serves as a pleasing and fitting adjunct to the symphony, generously rounding out the programme.

As expected from BIS, the 5.0 multi-channel recording is outstanding, offering a warm and detailed sound that fully captures the grandeur of Liszt’s music. The wide soundstage is enhanced by the fine acoustics of the Salle Philharmonique in Liège, the orchestra’s home venue. The characterful woodwind section is prominently featured, though never at the expense of the strings, whose playing is equally first-rate.

This is a recording that is both sonically and artistically worthy to join the versions of what many consider to be Liszt’s supreme orchestral masterpiece.

Copyright © 2024 Graham Williams and HRAudio.net

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