Videography Vladimir Paje

Program Notes by Lucinda Mosher, Th.D.

When, in 1846, French Romantic composer and conductor Hector Berlioz had a chance to put on a concert in what is now Budapest, Hungary, he included on the program his own arrangement of a tune the locals would know: a gypsy-like melody that had been a favorite for at least a century. It was named for Ferenc Rákóczy II, who led an uprising against Austria during the period 1703–1711. Berlioz’s arrangement of the march started quietly enough, the built to a thunderous conclusion—over which the audience went wild! Once back in Paris, Berlioz quickly found another use for such a crowd-pleaser: he incorporated it into his massive “dramatic legend” for orchestra, The Damnation of Faust, Op. 24, which premiered in December 1846. In the narrative poem by Johann Wolfgang Goethe on which it is based, Faust does not pay a visit to Hungary—but no matter! Berlioz simply revised the story to create a reason for the insertion of a march based on a Hungarian folk-tune. Berlioz’s The Damnation of Faust requires tremendous musical forces: a large symphony orchestra, a chorus singing in seven-part harmony, a children’s choir, and four vocal soloists.

Hence, the complete work is performed in its entirety only rarely. However, individual movements do find their way onto concert pro- grams—as the Rákóczy March has today. It remains a crowd-pleaser.

We dare you to keep your toes from tapping!