Organization

Conductor

Alexander Kalajdzic

Chorus master

Hagen Enke

Singer

Soprano

Dušica Bijelić

Theater Bielefeld

Others

Bielefelder Opernchor

Orchestra

Bielefelder Philharmoniker

1st symphony concert Poulenc / Liszt

Bielefeld

Germany

Rudolf-Oetker-Halle

1st symphony concert Poulenc / Liszt: Concert

Private

Public

Concert

Approved

Francis Poulenc initially devoted himself to music as entertainment. He only began to compose sacred music after he had found his way back to the faith through the death of a friend. The experience of having to live in occupied France made him even more serious in his work, but in his late Gloria , composed in 1959Poulenc returns to his happy, melodic style and develops a simple interpretation of faith with his direct, almost sentimental response to the text. Franz Liszt, who actually achieved fame as a piano virtuoso, emulated Hector Berlioz in his orchestral compositions and strove for the "renewal of music through its more intimate connection with poetry"; in plain language: he composed symphonic poems instead of symphonies. At that time, as court conductor in Weimar, he was also responsible for the prosperous opera business. In 1854 he wrote his symphonic poem Orpheus as a prelude to a performance of Gluck's Orfeo ed Euridice, to pay homage to the »inventor of music and dance«, as the hero of Greek mythology is often called. Vexilla regis prodeunt was only rediscovered in 1978 and, as a piano piece, which it initially was, dates back to the Latin hymn composed by Venantius Fortunatus in the 6th century. In the 1860s, after a failed marriage, Liszt turned more and more to spiritual life and work – also in his compositions – and in 1865 he received minor orders, thanks to which he was able to be addressed as an abbe. In 1864 he had orchestrated Vexilla regis prodeunt . Les Préludes , written between 1848 and 1854, uses the cycle of poems Méditations poétiquesby Alphonse de Lamartine, who regards the phases of life merely as preludes to death. The fact that this music was appropriated by the National Socialists and used as a jingle for newsreels and Wehrmacht reports from the German-Soviet Front during World War II is a form of abuse that Liszt cannot be held responsible for.

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