Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke) Cover Image

Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke): Full Orchestra, Score and Parts

$125.00 USD
$125.00 USD
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Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke) Cover Image
Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke): Full Orchestra, Score and Parts

Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke): Full Orchestra, Score and Parts

By Franz Liszt

Item: 36-A164302
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Mephisto Waltz No. 1 (Two Episodes from Lenau’s Faust, S. 110, No. 2: Der Tanz in der Dorfschenke): Full Orchestra, Full Score

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Description
Franz Liszt (1811-1886) composed a total of four Mephisto Waltzes (Mephisto-Walzer) between 1859 and 1885. MEPHISTO WALTZ No. 1, written between 1859 and 1862, remains the most popular of the four, and it was written originally for orchestra, though it was later arranged in various ways for piano(s). The first waltz is actually part of a larger two movement work titled ZWEI EPISODEN AUS LENAUS FAUST, S. 110, No. 2: DER TANZ IN DER DORFSCHENKE - ERSTER MEPHISTO-WALZER (TWO EPISODES FROM LENAU’S FAUST, S. 110, No. 2: THE DANCE IN THE VILLAGE INN - FIRST MEPHISTO-WALTZ). The first episode, titled DER NÄCHTLICHE ZUG (MIDNIGHT PROCESSION), is played rarely. The scene takes its program from Nikolaus Lenau's 1836 Faust drama (as opposed to the more commonly used Goethe version). In it, Mephistopheles and Faust pass a wedding feast at a village inn. When Mephistopheles entices Faust to join the dance, he snatches a fiddle from one of the musicians and plays on it indescribably seductive and intoxicating strains, all while the amorous Faust whirls a village beauty in wild abandon out of the inn and into the woods. Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 659859330990
SKU: 36-A164302
Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2): Hp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Franz Liszt

Franz Liszt (1811-1886) was a Hungarian composer and pianist whose virtuosity and compositional innovations shaped the Romantic era. Beyond his legendary keyboard abilities, Liszt composed symphonic poems, concertos, and orchestral works that expanded the expressive range of orchestration and harmonic language. His output was vast and diverse, ranging from sacred choral music to transcendental technical challenges, and his influence on subsequent composers extended far beyond his lifetime.

Listz's engagement with literary sources, particularly Goethe and other German poets, infused his instrumental music with narrative depth. The Mephisto Waltzes exemplify this approach, translating dramatic scenes into orchestral and keyboard contexts with vivid musical characterization. His willingness to revise and rearrange his own works for different ensembles demonstrates a pragmatic approach to composition that served both concert halls and private music-making.

Why we love this

Liszt's orchestration here is theatrical and technically sophisticated without requiring excessive rehearsal time once the ensemble locks the rhythmic foundation. The piece sits comfortably in the standard orchestra but demands clarity and precision from every section, making it an excellent choice for intermediate-to-advanced ensembles seeking repertoire that sounds spectacular while building core orchestral discipline. The waltz framework gives conductors a clear metric anchor, yet the harmonic language and dynamic gestures remain distinctly Romantic and dramatically compelling.

What to expect

Sensuous and darkly theatrical, the Waltz unfolds like a seduction. Liszt's orchestration shimmers with chromatic color and waltz-driven momentum, while sudden harmonic shifts and dynamic eruptions suggest the supernatural presence animating the scene. There is allure and danger woven together; the music seduces even as it unsettles.

Who it's for

Orchestras with advanced string sections and secure brass players will find this a rewarding challenge. The piece demands confident principal players and ensemble cohesion, making it ideal for high school honors orchestras, college ensembles, and semi-professional regional orchestras looking to program substantial Romantic-era repertoire.

How to get the most out of it

  • Establish the waltz meter early and maintain unwavering pulse; the seductive character depends on listeners feeling the three-beat foundation even amid Liszt's chromatic wanderings and textural shifts.
  • Balance the harp and string divisi carefully so that harmonic colors emerge without masking the principal melodic line; excessive weight on the divided violas and cellos obscures Liszt's shimmer.
  • Shape the dynamic arcs generously. Liszt marks broad crescendos and subito contrasts that propel the narrative forward; conducting each gesture with clear intention prevents the piece from falling into mechanical phrasing.
  • Coordinate woodwind articulation with the string rhythmic figures so that the dance maintains buoyant energy rather than heaviness, especially in passages where flutes and oboes double upper string parts.

How to use it

Program this as a centerpiece for a concert exploring Romantic orchestral literature or as an effective contrast to Classical-era symphonies. The work functions equally well as a bold opening statement or as a dramatic second-half opener, and its moderate length (roughly ten minutes) makes it flexible for mixed-genre concerts. Consider pairing it with other narrative-driven orchestral works or program it alongside piano arrangements to highlight Liszt's treatment of the same musical ideas across different mediums.

Skills your students will build

  • Sustaining a clear waltz meter while executing complex rhythmic subdivisions in different instrument families
  • Responding to detailed dynamic and articulation markings that shape lyrical and dramatic character
  • Balancing divisi string writing and harp color without sacrificing transparency
  • Navigating chromatic harmony and unexpected tonal shifts with secure intonation
  • Coordinating ensemble texture changes across all instrumental sections to create unified musical gestures

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