Faust Symphony S. 108 Mephisto Waltz No. 3 S. 216 - CD

When Franz Liszt took over the court orchestra in Weimar in 1848, people there lived on the memory of Goethe, who had previously directed the court theatre. Liszt is the direct heir to this renowned stage - but as a musician. With his Faust Symphony, which was premiered on the same day as the dedication of the Goethe and Schiller monument in front of the theatre, psychology makes it's way into music; Liszt's ambition was the renewal of music through it's more intimate connection with poetry. The Faust Symphony demonstrates the power of sound, of tone painting, to evoke a fantastic, epic and psychological world. Each movement corresponds to a character whose character and psychology it depicts. This is programme music, but it does not tell a story and is certainly not descriptive music. Liszt describes the profound nature of the characters musically, offering a subtle and analytical interpretation of the story of Faust as told by Goethe. The three character pictures are sonorous psychological tableaux in which Liszt does not simply tell the story of the characters or describe their feelings: He evokes their psyches. Kirill Karabits leads the Staatskapelle Weimar in this repertoire that so defines them.