While this ending is not often heard in the concert hall, both Fritz Reiner and James Conlon have recorded it. The orchestral version also has an alternate, softer ending which, while not as rousing as the usual coda, some critics argue is closer to the intent of Lenau's tale. Fritz Stade and later revised by Isidor Philipp. A further two piano version, published by Schuberth in 1885, was arranged by Dr. Liszt dedicated the piece to Karl Tausig, his favourite pupil. The piano duet version is a straightforward transcription of the orchestral version, while the solo piano version is an independent composition. Three versions, orchestral ( S.110/2), piano duet (S.599/2) and piano solo, (S.514), all date more or less from the same period (1859–62). The waltz was conceived as both an orchestra and a piano work. A Mephisto of this kind may only arise from such a poodle!." Liszt's request was not fulfilled and the two episodes were published separately. There is naturally no thematic relationship between the two pieces but they are related nonetheless by all the contrasts of emotions. I entrust to Schuberth's own judgement as to whether the piano version or the score appears first, makes no difference to me the only important thing is that both pieces should appear simultaneously, the Night Procession as No.1 and the Mephisto Waltz as No.2. Liszt intended to publish the Waltz simultaneously with the Night Procession: ".The publication of the two Lenau's Faust episodes. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song. The amorous Faust whirls about with a full-blooded village beauty in a wild dance they waltz in mad abandon out of the room, into the open, away into the woods. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. There is a wedding feast in progress in the village inn, with music, dancing, carousing. The following program note, which Liszt took from Lenau, appears in the printed score: The first Mephisto Waltz is a typical example of program music, taking for its program an episode from Nikolaus Lenau's 1836 verse drama Faust (not from Goethe's Faust). James Huneker described the work's "langourous syncopated melody" as "one of the most voluptuous episodes outside of the Tristan score". While the work preceding it, Midnight Procession ( Der nächtliche Zug), is rarely given (though both works have been recorded together), the waltz has been a concert favorite, with its passion, sensuality and dramatics generating an emotional impact. The most popular of the series and, along with the third Waltz, most praised musically, the Der Tanz in der Dorfschenke: Erster Mephisto-Walzer ("The Dance in the Village Inn: First Mephisto-Waltz"), or the First Mephisto Waltz, is the second of two short works he wrote for orchestra under the title Zwei Episoden aus Lenaus Faust. Problems playing these files? See media help.
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