Tonight’s program divides itself into two complimentary yet very different halves; in the first portion of the concert we enjoy two rambunctious pieces separated by an ethereal prayer, while in the second half we journey to Spain. The List/Wagner relationship is one of the more interesting in music history, not the least of which aspect is the fact that Liszt was Wagner’s father-in-law. Even the prayerful interlude has some relevance, as it passed through Liszt’s pianistic transformations between the pens of Mozart and Tchaikovsky. And then, proving true the adage that some of the best Spanish music was written by non-Spaniards, our trip to Spain is provided through the musical imagination of two Frenchmen, a German-American and a Russian.

Die Meistersinger was the sole comedy among the music dramas of Richard Wagner (1813-1883). From conception to completion Die Meistersinger spread itself over more than 20 years of Wagner’s life, although this brilliant overture was first performed in 1862, five years before the opera’s 1867 debut. Unlike most of Wagner’s orchestral introductions, this prelude actually gives somewhat of an overview of the plot, incorporating three important themes, heard first in succession and finally, at the work’s grand climax, heard simultaneously. One of the symphonic repertoire’s favorites, the work never fails to excite all who hear it.

Although noted for composing six powerful symphonies and part of a seventh, the great Russian composer Peter Ilyich Tchaikovsky (1840-1893) also made several symphonic efforts which for various reasons wound up as “orchestral suites” rather than symphonies. The most unique of these suites was the Suite No. 4, comprised entirely of the music of Mozart, reorchestrated by the Russian master. Tonight’s Preghiera was originally a sublime motet by Mozart, which was Romantically transcribed for piano by Franz Liszt. From that transcription Tchaikovsky created this lovely, romantic yet reverent, orchestral gem.

From an early age the great pianist/composer/showman Franz Liszt (1811-1886) was apparently obsessed by the Roman Catholic chant known by its initial words, Dies Irae (Day of Wrath) which presents a frightful vision of Judgment Day. Also, his attendance at the 1830 premiere of Berlioz’ Symphonie Fantastique, which concludes with a frenzied use of the chant theme, no doubt added to this fascination. He first planned a series of piano variations on the theme in 1839, wrote them out in 1849, and revised them twice in the following decade. As was typical of Liszt, the writing for piano was virtuosic verging on the demonic, and the orchestral accompaniment appropriately coloristic. Add to that the associations with death that the theme brought to Liszt and listeners thereafter, and we have a work both fantastic and macabre, stunning and electrifying. Tonight’s soloist, along with orchestrator Martin Kennedy, has taken this, Liszt’s final work for orchestra and piano, and turned it into a spectacular work for violin and orchestra that almost defies performance through its sheer difficulty and fantastic technical feats.

Jules Massenet (1842-1912) was one of the most popular and successful French composers of his day, largely thanks to several still-popular operas. While his opera Le Cid has not retained the popularity of others, the opera’s ballet music from Act II has remained a favorite. The movements are based upon the various provinces of Spain and in the opera provide the music for a Spring festival in the town square.

Georges Bizet (1838-1875) was certain his opera Carmen would go down in history as a tremendous failure, but contrary to his fears it has become one of the favorite and most oft-performed operas in history. It is full of charming melodies, many of which are recognizable even by those who have never set foot in an opera hall. The famous violinist Sarasate quickly composed a fantasy for violin and piano out of these themes, which continues to be performed today. Tonight’s Fantasie, though, comes to us instead from the world of Hollywood, specifically from the 1946 film Humoresque. The great composer Franz Waxman (1906-1967) composed a short work for the film, which John Garfield “played” on screen to Isaac Stern’s recording. The great Jascha Heifetz saw the movie and asked Waxman to enlarge the work for concert performance. This he did, amply exploiting the violinistic pyrotechnics that made Heifetz famous. The work was premiered on The Bell Telephone Hour in 1946 and ever since has been a favorite work of those violinists with the technical prowess to tackle such a daunting, dazzling work.

The evening’s final Spanish serenade comes from the Russian Rimsky-Korsakov (1844-1908). Even before its 1887 premiere, the Capriccio Espagnol became a favorite, eliciting applause after every movement from the orchestra players at its initial rehearsals. At the work’s first performance the audience demanded an immediate encore of the entire work, and it has excited audiences ever since. It is hard to believe that Rimsky did not even hear an orchestra until the age of twelve, given that he is still regarded to be among the foremost masters of the orchestra in all of music history. The Capriccio Espagnol is a prime example of this skill, full of exciting effects and brilliant display. It is a showpiece for the entire orchestra, not just for the many soloists who are called upon to contribute to the excitement, and is as exciting to perform as it is to hear. As Rimsky himself said of the piece, it is not just a “magnificently orchestrated” work, but it is a “brilliant composition for orchestra.” Perhaps he could be faulted for immodesty, but if orchestral brilliance has anything to do with unrelenting excitement and energy, not to mention a century of popularity, then certainly his Capriccio Espagnol is among music history’s most successful orchestral works.