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Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216

97761 - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216

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In Liszt’s Faust Symphony psychology enters music. It displays the power of sound, of tone painting, to evoke a fantastical, epic and psychological world. With his subtle and analytical interpretation of Goethe’s Faust, Liszt creates psychological tableaux, recorded by the Staatskapelle Weimar under the baton of Kirill Karabits.more

"In the Faust Symphony, he [Karabits] handles the sprawling and discursive first movement impressively, moving between rumination and headlong energy in this character sketch of Faust." (BBC Music Magazine)

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II. Gretchen (18:00)
III. Mephistopheles (16:18)
IIIa. Chorus mysticus (05:38)

Franz Liszt, Kirill Karabits (Arranger), Alfred Reisenauer (Arranger)Staatskapelle Weimar | Kirill Karabits

Mephisto Waltz No. 3, S. 216 (Arr. for Orchestra by Alfred Reisenauer and Kirill Karabits) (10:15)


Bonustracks (17:45)

This bonus track is only available as a download!

Grazhyna, Op. 58 (17:45)

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Details

Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
article number: 97.761
EAN barcode: 4022143977618
price group: BCA
release date: 4. August 2023
total time: 95 min.

Bonus Material

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​When Franz Liszt took over the court orchestra in Weimar in 1848, the memory of Goethe, who had previously directed the court theatre, was still venerated. Liszt was therefore Goethe's direct heir at Weimar - albeit as a musician. With his Faust Symphony, which was premiered on the same day as the inauguration of the Goethe and Schiller monument in front of the theatre, psychology made its way into music; Liszt's ambition was the "renewal of music through its more intimate connection with poetry". His Faust Symphony demonstrates the power of sound, of tone painting, to evoke a fantastical, epic and psychological world.

Each movement corresponds to a character whose traits and psychology it depicts. This is programme music, but it does not tell a story and is certainly not descriptive music. Liszt characterised musically the profound nature of each character, offering a subtle and analytical interpretation of the story of Faust as told by Goethe. The three character pictures are psychological tableaux set to music. Liszt does not simply tell the story of the characters or describe their feelings: he evokes their psyches.

Kirill Karabits conducts the Staatskapelle Weimar in this repertoire which is especially close to the ensemble.

Reviews

klassik.com | 23.01.2024 | Dr. Kai Marius Schabram | January 23, 2024 | source: https://magazin.... Dämonen und Engel

[Karabits] Aufnahme der kanonischen Faust-Symphonie mit der glänzend aufgelegten Weimarer Staatskapelle unter Beteiligung des Opernchors des Deutschen Nationaltheaters Weimar und des Landesjugendchors Thüringen [ist] durchaus besonders zu nennen. [...] Hier entstehen jene Momente, die große Meisterwerke ausmachen – man glaubt sie zu kennen, doch wird man durch Interpretationen wie jene von Karabits und dem Weimarer Klangkörper beständig eines Besseren belehrt. Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[Karabits] Aufnahme der kanonischen Faust-Symphonie mit der glänzend aufgelegten Weimarer Staatskapelle unter Beteiligung des Opernchors des Deutschen Nationaltheaters Weimar und des Landesjugendchors Thüringen [ist] durchaus besonders zu nennen. [...] Hier entstehen jene Momente, die große Meisterwerke ausmachen – man glaubt sie zu kennen, doch wird man durch Interpretationen wie jene von Karabits und dem Weimarer Klangkörper beständig eines Besseren belehrt.

Preis der Deutschen Schallplattenkritik | Bestenliste 4/2023 | Michael Kube | November 15, 2023 | source: https://www.scha... Bestenliste 4/2023 Preis der Deutschen Schallplattenkritik

Liszts Tondichtung »Eine Faust-Sinfonie« gehört wie auch viele andere seiner Partituren zu den ungehobenen Schätzen des 19. Jahrhunderts. NurMehr lesen

Liszts Tondichtung »Eine Faust-Sinfonie« gehört wie auch viele andere seiner Partituren zu den ungehobenen Schätzen des 19. Jahrhunderts. Nur selten ist das 1854 entstandene und später durch einen »Chorus mysticus« im Finale erweiterte Werk live zu erleben. Die Einspielung mit der Staatskapelle Weimar unter Kirill Karabits rückt die Komposition ins rechte Licht: symphonisch in Anspruch und Ton, dramatisch im Ausdruck, mit hohem Puls bei der Darstellung der zentralen Charaktere Faust, Gretchen und Mephistopheles. Klanglich durchsichtig, partiell fast kammermusikalisch, räumt die Produktion mit vielen Vorbehalten auf.
Liszts Tondichtung »Eine Faust-Sinfonie« gehört wie auch viele andere seiner Partituren zu den ungehobenen Schätzen des 19. Jahrhunderts. Nur

Diapason
Diapason | N° 727 NOVEMBRE 2023 | Didier Van Moere | November 1, 2023

Kirill Karabits poursuit son périple en terres lisztiennes . Après l’exhumation de l’opéra inachevé Sardanapalo (Diapason découverte, cf. n°Mehr lesen

Kirill Karabits poursuit son périple en terres lisztiennes . Après l’exhumation de l’opéra inachevé Sardanapalo (Diapason découverte, cf. n° 683) puis la Dante-Symphonie (Diapason d’or, cf. n° 689), voici la Faust-Symphonie. La première de ces « trois études de caractères d’après Goethe », Faust, inspire d’emblée le respect, par la cohérence du propos et la maîtrise de la forme, avec des transitions très réussies. On déplore cependant un éventail assez limité de couleurs, et un certain manque de flamme et de tension pour l’Allegro agitato ed appassionato – le personnage est ici plus nostalgique qu’héroïque. Le début de Marguerite pourrait être plus éthéré, mais la partie centrale, où les thèmes des amants s’unissent en une étreinte passionnée, séduit par le lyrisme de la direction etle fini des nuances. Tout va décidément crescendo, avec un Mephistophélès au rictus diabolique et fort bien tenu. A-t-on gagné le Ciel quand arrive le Chorus mysticus ? Airam Hernandez, impeccablement stylé, à la ligne fuselée, n’a pas tout à fait le rayonnement extasié de celui que l’Eternel féminin conduit au paradis. Que donnerait le chef ukrainien à la tête d’une autre phalange ? Enregistrer Liszt à Weimar constitue évidemment un retour aux sources, mais s’il tire le meilleur de la Staatskapelle, Karabits se heurte à rude concurrence, celle de chefsplus visionnaires etd’orchestres plus prestigieux. On retiendra surtout de cet album un peu sage une intéressante curiosité, la Méphisto Valse n° 3 orchestrée par Alfred Reisenauer – un des disciples préférés de Liszt – et Kirill Karabits. Même si le maître aurait sans doute été moins massif, plus anguleux, plus diabolique. Pour la Faust-Symphonie, on retournera à Beecham, Bernstein, Dorati, Sinnopoli ou Noseda (sans le chœur final).
Kirill Karabits poursuit son périple en terres lisztiennes . Après l’exhumation de l’opéra inachevé Sardanapalo (Diapason découverte, cf. n°

Classica – le meilleur de la musique classique & de la hi-fi
Classica – le meilleur de la musique classique & de la hi-fi | N° 257 - Novembre 2023 | Jérémie Bigorie | November 1, 2023

Kirill Karabits s’inscrit dans cette seconde lignée, avec un troisième mouvement particulièrement réussi où une mise en place au cordeau s’acoquine avec l’esprit méphistophélique. Sa direction à la pointe sèche épure le romantisme de l’œuvre qui regarde moins vers le fondu wagnérien qu’elle ne perpétue, dans la netteté du dessin, un certain classicisme hérité de BerliozMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Kirill Karabits s’inscrit dans cette seconde lignée, avec un troisième mouvement particulièrement réussi où une mise en place au cordeau s’acoquine avec l’esprit méphistophélique. Sa direction à la pointe sèche épure le romantisme de l’œuvre qui regarde moins vers le fondu wagnérien qu’elle ne perpétue, dans la netteté du dessin, un certain classicisme hérité de Berlioz

www.musicweb-international.com
www.musicweb-international.com | OCTOBER 12, 2023 | Jonathan Welsh | October 12, 2023 | source: https://www.musi...

I’ve long been a fan of Liszt’s Faust Symphony and up until recently it was my favourite of his two symphonies. In fact, it was KirillMehr lesen

I’ve long been a fan of Liszt’s Faust Symphony and up until recently it was my favourite of his two symphonies. In fact, it was Kirill Karabits’s recording of the Dante that made me appreciate that work more than the Faust. Anyway, here the Staatskapelle Weimar turn their attentions to the Faust and, as a bonus, another first recording of a late work by Liszt in an orchestrated version by his pupil Alfred Reisenauer and revised by Kirill Karabits. I’d read about this orchestration of the 3rd Mephisto Waltz somewhere but, up until now, it had remained unrecorded and unheard.

As I had expected from the recording of the Dante, the performance of the Faust Symphony is muscular and powerful – but there is also a delicacy when that is required. The first movement, subtitled “Faust”, starts with a twelve-tone row, played fairly slowly and mysteriously, leaving you wondering where the music will go next. However, once the initial tune gets going, the tempo picks up rapidly. The orchestra positively explodes from the speakers with the following “Allegro impetuoso”, which sets off at a tremendous pace with the first of several themes that permeate and create the movement. The details captured by the excellent recording here make Liszt’s clever writing for orchestra stand out very clearly and also highlight the difficulties in the orchestral parts for the performers. However, this clearly doesn’t faze the orchestra as they cope marvellously with all the complications that Liszt throws at them. The music slowly evolves into muted runs in the strings which abruptly stop with a lovely “Affettuoso poco andante” section. This slowly morphs into a section that generates what has been termed the “Pride” motif, which shows Liszt as his most bombastic. This doesn’t last long and is transmuted and mixed with themes from earlier in the movement to create something entirely different. Somehow, Liszt (and Karabits) manage to contain all this tension and we get a repeat of the “Allegro impetuoso”, then the twelve-tone rows return, about fourteen minutes in. This section serves as a bridge to the remainder of this long and complicated movement that is broadly in sonata form – all of which means that the themes which have already been heard are varied and changed and wound up neatly in an effective and unexpected quiet conclusion.

The second movement, “Gretchen”, opens with the violas and oboes sinuously playing her theme with beautiful accompaniment by the remainder of the orchestra. Much of this movement is gentle with some lovely writing and playing; however, there is a more strident section in the middle which is again very well judged. Unlike the first movement, the timing here is slightly slower than other performances I am familiar with but the music does not drag at all. Towards the end of the movement, just before the violas reappear with the “Gretchen” theme, there is a beautifully recorded moment where the orchestra falls silent aside from a harp. It is magnificently captured here. This is the sort of performance in which you can completely lose yourself and be swept away by the music; I defy any Liszt haters not to be enthralled by it. The movement ends peacefully as the music evaporates into the ether.

In complete contrast to the ending of “Gretchen” the third movement, “Mephistopheles”, is a portrayal of the devil, starting with a jolt. It is very cleverly constructed, made up mostly of thematic transformations of the music heard elsewhere within the symphony, but with the addition of a self-quotation from Liszt’s early work for piano and orchestra, Malediction. In fact, the only theme not mutated during the progress of the movement is “Gretchen” (at 8’41’’) – showing that Mephistopheles has no power over her. This respite does not last long and the sardonic themes return quickly and continue their development. There is some tremendously exciting playing here – the tension inherent in the music is racked up as the piece progresses with scurrying playing in the strings, clever fugal modifications and changes in tempo and orchestration. The work doesn’t really stop here, but slowly crystallises down to a very foreboding couple of bars in which the organ, violins, cellos and double basses hold a note while the chorus and, slightly later, the tenor soloist emerges from the gloom. Both chorus and soloist do a brilliant job here and are marvellously integrated into the orchestra as they sing various passages from the “Chorus mysticus” in which Faust is redeemed. The tenor Airam Hernández is especially good; his voice suits this piece extremely well.

The performance of this symphony is brilliant in every way. I am also very familiar with Liszt’s own two piano version (S647 in Searle’s catalogue) and listening to this recording makes me appreciate the way that Liszt handled that arrangement. The clarity of this performance enables me to mentally connect the music in that two piano version with the orchestral version better than any other I have heard.

There is almost no information in the notes about the orchestration of the Third Mephisto Waltz which is a shame, as I would have liked to have known more about it. However, in comparison to Liszt’s own orchestration of the Second Mephisto waltz, I would say that Reisenauer / Karabits’s arrangement works extremely well indeed – it’s also got some details in the scoring which stand out better than they do in the piano version. It’s a dark, ironic, sarcastic piece – made even darker by the very interesting novel orchestration which is very much in Liszt’s later style. As an aside, it’s a pity Liszt never finished the fourth of this series of works although Dr Leslie Howard’s completion in the Hyperion set gives an excellent idea of what he might have intended. It is conceivable to orchestrate that, too, which would be a most interesting work to hear.

There is some wonderful playing here, the orchestra works well as an integrated whole and you can really hear all the details. The recording is extremely clear and sounds especially good over headphones. Overall timings for the symphony are about average but especially in the first movement, the rhythmic drive propels the music forward in a way that makes time pass more quickly. The cover notes are fascinating and give lots of details about the symphony (although as I said earlier, there is almost nothing about the waltz, sadly). I thoroughly enjoyed getting to know this recording and hope that these forces will record more of Liszt’s orchestral works as there is still quite a lot that has yet to be recorded.
I’ve long been a fan of Liszt’s Faust Symphony and up until recently it was my favourite of his two symphonies. In fact, it was Kirill

Radio România Muzical | 4-5 octombrie 2023 | Larisa Clempuș | October 4, 2023 | source: https://www.roma... DISCURILE ANULUI 2023

Continuând seria de înregistrări dedicate muzicii lui Franz Liszt laMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Continuând seria de înregistrări dedicate muzicii lui Franz Liszt la

BBC Music Magazine
BBC Music Magazine | October 2023 | John Allison | October 1, 2023

‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of theMehr lesen

‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of the liner notes to this new release, but the writer could equally have been asked where music would be without the phenomenon of Liszt. Wagner (and all the long shadows he cast) would have been impossible without the music of his father-in-law Liszt, and what might be called ‘Wagnerian’ harmonies (and Leitmotifs) make their presence strongly felt in the Faust Symphony, premiered under the composer’s own baton in Weimar in 1857.

Liszt’s connections with the city ran deep, so it is hardly surprising to hear how even today the Staatskapelle Weimar sounds steeped in his music. The orchestra’s former music director Kirill Karabits has immersed himself in Liszt too, also completing Alfred Reisenauer’s orchestration of the Mephisto Waltz No. 3 and recording it for the first time. In the Faust Symphony, he handles the sprawling and discursive first movement impressively, moving between rumination and headlong energy in this character sketch of Faust. Portraits of Gretchen (full of delicacy) and Mephistopheles follow, and the added apotheosis with male chorus and tenor soloist (Airam Hernández singing with heft) makes for a grandly affirmative ending.
‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of the

Gramophone
Gramophone | Monday, September 11, 2023 | Christian Hoskins | September 11, 2023 | source: https://www.gram... Editor's Choice: October 2023 | The best new classical recordings

Following his earlier recordings of Liszt’s Sardanapalo (2/19) and A Dante Symphony (4/20) for Audite, Kirill Karabits now turns his attention toMehr lesen

Following his earlier recordings of Liszt’s Sardanapalo (2/19) and A Dante Symphony (4/20) for Audite, Kirill Karabits now turns his attention to the composer’s A Faust Symphony. In his review of the recording of Sardanapalo, Tim Ashley wrote that ‘Karabits conducts with extraordinary passion’, and the same is true of this latest entry in the series. With a running time of 68 minutes, Karabits’s account is one of the swifter performances on record, alongside those of Chailly, Muti and Sinopoli. By contrast, Bernstein takes 77 minutes.

Nevertheless, it’s Bernstein’s vividly characterised and impassioned interpretation that I’m most reminded of when listening to this new recording. The performance of the work’s opening has a compelling sense of mystery and anticipation, and the movement’s subsequent episodes are stirring and dramatic. In the movement’s gentler passages, as in the subsequent ‘Gretchen’ movement, the playing of the viola, oboe and other solo instruments is marvellously poetic, and textures are beautifully balanced and marvellously luminous. Both Bernstein and Karabits offer enormously exciting accounts of the work’s final movement but ultimately Karabits has the edge with his thrilling interpretation of the concluding ‘Chorus mysticus’, which combines an ardent contribution by tenor Airam Hernández with choral singing of extraordinary heft and incandescence.

It’s a pity that the booklet doesn’t include the text of the choral section given that it would take so little space. The booklet essay similarly makes no mention of the rarely heard orchestration of the Mephisto Waltz No 3 included on the album other than giving joint credit for the arrangement to Liszt pupil Alfred Reisenauer and Kirill Karabits. As with the symphony, however, the performance has tremendous panache, and the recording is well balanced and transparent even in the loudest tuttis. Very highly recommended.
Following his earlier recordings of Liszt’s Sardanapalo (2/19) and A Dante Symphony (4/20) for Audite, Kirill Karabits now turns his attention to

Classical Music Magazine | September 5, 2023 | John Allison | September 5, 2023 | source: https://www.clas...

‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of theMehr lesen

‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of the liner notes to this new release, but the writer could equally have been asked where music would be without the phenomenon of Liszt. Wagner (and all the long shadows he cast) would have been impossible without the music of his father-in-law Liszt, and what might be called ‘Wagnerian’ harmonies (and Leitmotifs) make their presence strongly felt in the Faust Symphony, premiered under the composer’s own baton in Weimar in 1857.

Liszt’s connections with the city ran deep, so it is hardly surprising to hear how even today the Staatskapelle Weimar sounds steeped in his music. The orchestra’s former music director Kirill Karabits has immersed himself in Liszt too, also completing Alfred Reisenauer’s orchestration of the Mephisto Waltz No. 3 and recording it for the first time. In the Faust Symphony, he handles the sprawling and discursive first movement impressively, moving between rumination and headlong energy in this character sketch of Faust. Portraits of Gretchen (full of delicacy) and Mephistopheles follow, and the added apotheosis with male chorus and tenor soloist (Airam Hernández singing with heft) makes for a grandly affirmative ending.
‘What would the history of music look like if Goethe had not written his Faust dramas?’ It’s a good question, posed at the beginning of the

Prestomusic | 31st August 2023 | Katherine Cooper | August 31, 2023 | source: https://www.pres... Editor's Choices

Liszt's orchestral portraits of Faust, Marguerite and Mephistopheles positively leap off the page in this vital, richly characterised account of theMehr lesen

Liszt's orchestral portraits of Faust, Marguerite and Mephistopheles positively leap off the page in this vital, richly characterised account of the Goethe-inspired symphony: the Weimar brass glow and growl in the opening movement depicting Faust's torment, principal oboe and viola are on eloquent form when portraying Marguerite's innocence, and the devilish scherzo is given with dazzling clarity. Boris Lyatoshinsky's 1955 symphonic poem Grazhyna (which Karabits has previously recorded in Bournemouth) looks like a non sequitur on paper, but the kinship with Liszt's soundworld is striking.
Liszt's orchestral portraits of Faust, Marguerite and Mephistopheles positively leap off the page in this vital, richly characterised account of the

Prestomusic | 18th August 2023 | Katherine Cooper | August 18, 2023 | source: https://www.pres... New Release Round-Up

Following their recordings of Tasso, the Dante Symphony and the abandoned opera Sardanapalo, Karabits and the Weimar orchestra turn to a work which isMehr lesen

Following their recordings of Tasso, the Dante Symphony and the abandoned opera Sardanapalo, Karabits and the Weimar orchestra turn to a work which is closely associated with the city: the Faust Symphony was premiered in Weimar in September 1857, for the inauguration of the Goethe–Schiller Monument which stands in front of the Court Theater. It's followed here by another Goethe-inspired work, the Mephisto Waltz No. 3 (orchestrated by Liszt's disciple Alfred Reisenauer and Karabits himself).
Following their recordings of Tasso, the Dante Symphony and the abandoned opera Sardanapalo, Karabits and the Weimar orchestra turn to a work which is

concerti - Das Konzert- und Opernmagazin
concerti - Das Konzert- und Opernmagazin | 15. August 2023 | Roland H. Dippel | August 15, 2023 | source: https://www.conc... Grübeln und Glanz
Die Staatskapelle Weimar und Kirill Karabits kosten mit Brillanz die Oberflächenreize in Liszts Faust-Sinfonie aus

Das Orchester hat neben der Suche nach Tiefe auch Freude an den Oberflächenreizen Liszts, kostet diese mit heutigem Instrumentarium und entsprechender Brillanz gern aus.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Das Orchester hat neben der Suche nach Tiefe auch Freude an den Oberflächenreizen Liszts, kostet diese mit heutigem Instrumentarium und entsprechender Brillanz gern aus.

WDR 3
WDR 3 | 10.08.2023 "Hörstoff – neue Klassik-Alben" | Philipp Quiring | August 10, 2023 | source: https://www.arda... BROADCAST
Packende Charakterzeichnung: Liszts Faust-Symphonie

Dirigent Kirill Karabits und die Staatskapelle Weimar haben LisztsMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Dirigent Kirill Karabits und die Staatskapelle Weimar haben Liszts

Kulturabdruck | 03.08.2023 | Dr. Thorsten Stegemann | August 3, 2023 | source: https://www.kult... Zerbröselnder Faust, träumendes Gretchen und ein lachender Mephisto

Die Staatskapelle Weimar formt die drei Charakterbilder unter ihrem früheren Chefdirigenten Kirill Karabits zu einem gewaltigen Klangporträt, das die flüchtigen lyrischen Momente ebenso präzise nachzeichnet wie die rauschhaften, sich mitunter selbst überschlagenden Aufschwünge. Den Herren des Opernchores des Deutschen Nationaltheaters Weimar und des Landesjugendchores Thüringen gelingt mit dem Tenor Airam Hemandez ebenfalls eine überzeugende Darbietung [...]Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Die Staatskapelle Weimar formt die drei Charakterbilder unter ihrem früheren Chefdirigenten Kirill Karabits zu einem gewaltigen Klangporträt, das die flüchtigen lyrischen Momente ebenso präzise nachzeichnet wie die rauschhaften, sich mitunter selbst überschlagenden Aufschwünge. Den Herren des Opernchores des Deutschen Nationaltheaters Weimar und des Landesjugendchores Thüringen gelingt mit dem Tenor Airam Hemandez ebenfalls eine überzeugende Darbietung [...]

www.pizzicato.lu | 03/08/2023 | Remy Franck | August 3, 2023 | source: https://www.pizz... Liszt, Faust, Weimar

Als Liszt die Leitung der Weimarer Hofoper antrat, setzte er sich intensiv mit Goethes Werk auseinander. Besonders das Faust-Thema fesselte ihn. DieMehr lesen

Als Liszt die Leitung der Weimarer Hofoper antrat, setzte er sich intensiv mit Goethes Werk auseinander. Besonders das Faust-Thema fesselte ihn. Die Faust-Symphonie ist eigentlich nichts anderes als eine Folge von drei Tondichtungen zu den Themen Faust, Gretchen und Mephisto mit, als Zugabe, dem Chorus mysticus. Kirill Karabits hat die gleichen Rezepte für die drei Tondichtungen: resolutes Suchen nach dramatischen Abläufen, nach Programmpunkten, die an eine Handlung erinnern sollen, mit sämtlichen damit zusammenhängenden Motiven und Gefühlsmomenten.

Er wendet sich freilich nicht, wie es andere Dirigenten getan haben, vom Gedanklichen ab, um das Werk in einem opulenten, brillanten Klanggewand zu dramatisieren. Orchestrale Virtuosität ist zwar reichlich vorhanden und auch bewundernswert, aber sie wird nie zum Selbstzweck.

Sehr tief empfunden ist der Gretchen-Satz, und in der Mephisto-Tondichtung ist die Rhythmik regelrecht faszinierend. Sie ist die Grundlage, auf welcher der Dirigent seine Interpretation aufbaut, die ihm hilft, dämonische Kräfte zu entfesseln, den Geist, der stets verneint, hörbar werden zu lassen.

Das hervorragende Weimarer Orchester unterstützt Karabits dabei sehr gut. Der Tenor Peter Seiffert und die Herren des Senff-Chors leisten eine ebenfalls gute Arbeit.

Zwanzig Jahre trennen den berühmten Mephisto-Walzer Nr. 1 von drei weiteren Walzern aus den 1880er Jahren, den Mephisto-Walzern Nr. 2 (1881), Nr. 3 (1883), Nr. 4 (1885, unvollendet).

Den Mephisto-Walzer Nr. 3 widmete er der französischen Komponistin und Pianistin Marie Jaëll, die nach dem Tod ihres Mannes Alfred im Jahr 1882 Liszts Sekretärin wurde. Dieser dritte Mephisto-Walzer ist etwas weniger virtuos und gleichzeitig moderner, harmonisch kühner als die beiden ersten Walzer. Das wird in dieser Orchesterfassung sehr deutlich, die der Liszt-Schüler Alfred Reisenauer anfertigte, aber unvollendet ließ; sie wurde von Kirill Karabits vervollständigt und am 12. Juni 2022 von der Staatskapelle Weimar uraufgeführt.


ENGLISH TRANSLATION:

When Liszt took over as director of the Weimar Court Opera, he intensively studied Goethe’s work. He was particularly captivated by the Faust theme. The Faust Symphony is actually nothing more than a sequence of three tone poems on the themes of Faust, Gretchen and Mephisto with, as an encore, the Chorus mysticus. Kirill Karabits has the same recipes for the three tone poems: resolute search for dramatic sequences, for program points that should remind of a plot, with all motives and emotional moments connected with it.

He does not, of course, turn away from the thoughtful, as other conductors have done, in order to dramatize the work in an opulent, brilliant sound garb. Orchestral virtuosity abounds and is also admirable, but it never becomes an end in itself.

Very deeply felt is the Gretchen movement, and in the Mephisto tone poem the rhythm is downright fascinating. It is the foundation on which the conductor builds his interpretation, helping him to unleash demonic forces, to make audible the spirit that always denies.

The excellent Weimar orchestra supports Karabits very well. Tenor Peter Seiffert and the gentlemen of the Senff Choir also do a fine job.

Twenty years separate the famous Mephisto Waltz No. 1 from three other waltzes from the 1880s, Mephisto Waltzes No. 2 (1881), No. 3 (1883), No. 4 (1885, unfinished).

He dedicated the Mephisto Waltz No. 3 to the French composer and pianist Marie Jaëll, who became Liszt’s secretary after the death of her husband Alfred in 1882. This third Mephisto waltz is less virtuosic and at the same time more modern and harmonically bold than the first two waltzes. This is very evident in this orchestral version, which Liszt’s student Alfred Reisenauer made but left unfinished; it was completed by Kirill Karabits and premiered by the Staatskapelle Weimar on June 12, 2022.
Als Liszt die Leitung der Weimarer Hofoper antrat, setzte er sich intensiv mit Goethes Werk auseinander. Besonders das Faust-Thema fesselte ihn. Die

Crescendo Magazine
Crescendo Magazine | 9 juillet 2023 | Pierre Jean Tribot | July 9, 2023 | source: https://www.cres... Liszt à Weimar, chef d'oeuvre et découverte

L’interprétation fignolée et brillante du chef et de son orchestre sont un incontestable apport à notre connaissance de l’art du compositeur.<br /> <br /> Très bien enregistré, ce disque est à connaître tant pour la belle découverte de la Mephisto Waltz n°3 que pour la réussite artistique de haut vol.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
L’interprétation fignolée et brillante du chef et de son orchestre sont un incontestable apport à notre connaissance de l’art du compositeur.

Très bien enregistré, ce disque est à connaître tant pour la belle découverte de la Mephisto Waltz n°3 que pour la réussite artistique de haut vol.

Der neue Merker | 27.06.2023 | Alexander Walther | June 27, 2023 | source: https://onlineme... Poetisierung der Form
Neue CD: Franz Liszt „Eine Faust-Symphonie“ mit der Staatskapelle Weimar bei audite

[...] beweist die Staatskapelle Weimar nochmals ihren Klangfarbenreichtum.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] beweist die Staatskapelle Weimar nochmals ihren Klangfarbenreichtum.

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Jan 24, 2024
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Interpretation: 5/5 Sternen - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Jan 24, 2024
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klassik.com
Dämonen und Engel
Jan 2, 2024
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Discurile Anului 2023 - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Jan 2, 2024
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Radio România Muzical
DISCURILE ANULUI 2023
Dec 7, 2023
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BROADCAST: SWR2 "Treffpunkt Klassik" (10:05 AM)
Nov 22, 2023
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Quarterly Prize of German Record Critics' Award (Radio Lotte Weimar)
Nov 21, 2023
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Quarterly Prize of the German Record Critics' Award (Thüringische Landeszeitung)
Nov 15, 2023
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ICMA - Nomination 2024 - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Nov 15, 2023
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Quarterly Prize of German Record Critics' Award (nmz)
Nov 15, 2023
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Preis der Deutschen Schallplattenkritik
Bestenliste 4/2023 Preis der Deutschen Schallplattenkritik
Nov 15, 2023
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PdSK - Bestenliste - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Oct 30, 2023
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4 de Diapason - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Oct 30, 2023
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Diapason
Kirill Karabits poursuit son périple en terres lisztiennes . Après...
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Sep 21, 2023
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Oct 16, 2023
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www.musicweb-international.com
I’ve long been a fan of Liszt’s Faust Symphony and up until recently it was...
Oct 11, 2023
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PdSK - Longlist - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Sep 12, 2023
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Gramophone
Editor's Choice: October 2023 | The best new classical recordings
Sep 1, 2023
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Note 1 music: new releases (3-2023)
Sep 7, 2023
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Performance 4/5 - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Sep 7, 2023
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BBC Music Magazine
‘What would the history of music look like if Goethe had not written his Faust...
Sep 6, 2023
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Classical Music Magazine
‘What would the history of music look like if Goethe had not written his Faust...
Sep 5, 2023
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Editor's Choices - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Sep 5, 2023
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Editor's Choices
Aug 29, 2023
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BROADCAST: BR-KLASSIK "DER VORMITTAG" (9:05 AM)
Sep 1, 2023
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jpc-courier 9/2023: new releases of the month
Aug 26, 2023
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Aug 28, 2023
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Prestomusic
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Aug 24, 2023
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Editor's Choice - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Aug 15, 2023
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concerti - Das Konzert- und Opernmagazin
Grübeln und Glanz
Aug 10, 2023
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BROADCAST: WDR 3 "Hörstoff"
Aug 14, 2023
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WDR 3
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Aug 4, 2023
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Album cover and Listening Tipp on highresaudio.com
Aug 4, 2023
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Faust's Mephisto Waltz No. 3was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 4th until 10th August (#30/51)
Jul 21, 2023
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Liszt's 'Chorus Mysticus' from A Faust Symphony, S. 108 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 21st until 27th July (#27/51)
Aug 4, 2023
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Newsletter on CD release to general mailing list
Aug 7, 2023
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5/5 Noten - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Aug 7, 2023
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www.pizzicato.lu
Liszt, Faust, Weimar
Aug 7, 2023
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Kulturabdruck
Zerbröselnder Faust, träumendes Gretchen und ein lachender Mephisto
Jul 24, 2023
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Son: 9 Livret: 10 Répertoire: 10 Interpretation: 9 - Franz Liszt: A Faust Symphony, S. 108 – Mephisto Waltz No. 3, S. 216
Jul 24, 2023
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Crescendo Magazine
Liszt à Weimar, chef d'oeuvre et découverte
Jun 28, 2023
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Der neue Merker
Poetisierung der Form
Jun 20, 2023
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Jun 12, 2023
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