Weinen, Klagen, Sorgen, Zagen by Franz Liszt
- 13 years ago
(Due to word count restrictions, the final two sentences have been excluded from the context here. Overall: 1109 words/characters.)
Program note: Liszt's Variations on "Weinen, Klagen, Sorgen, Zagen" for organ are based on the descending chromatic bass line which Bach used in the opening chorus of his Cantata of the same title and in the Crucifixus movement of his B Minor Mass. The title means, "Weeping, Complaining, Worrying, Being Fearful," but Liszt's work appears to relate more to various stages of grieving than to the general hardship depicted in the Bach Cantata. Liszt structures the variations in the style of a passacaglia, and gives vivid expression to the tears and sorrow of the title, including some anguished climaxes. A chorale expressing the ideological message of the work is heard at the climax of the suffering and extreme despair: "Whatever God Ordains is Right."
Program note: Liszt's Variations on "Weinen, Klagen, Sorgen, Zagen" for organ are based on the descending chromatic bass line which Bach used in the opening chorus of his Cantata of the same title and in the Crucifixus movement of his B Minor Mass. The title means, "Weeping, Complaining, Worrying, Being Fearful," but Liszt's work appears to relate more to various stages of grieving than to the general hardship depicted in the Bach Cantata. Liszt structures the variations in the style of a passacaglia, and gives vivid expression to the tears and sorrow of the title, including some anguished climaxes. A chorale expressing the ideological message of the work is heard at the climax of the suffering and extreme despair: "Whatever God Ordains is Right."