Liebesszene und Fortunas Kugel aus dem Oratorium Die sieben Todsünden von Adalbert von Goldschmidt – Phantasiestück, S490
The music of the Viennese composer Adalbert von Goldschmidt (1848–1906) has disappeared pretty well without a trace, but in his day he was respected as a well-to-do amateur whose patronage in Viennese musical life helped many another musician. He was a thorough enthusiast for the new music of the Weimar school, and his once-famous oratorio The Seven Deadly Sins
, which appeared in 1876 (shortly before the first performance of ‘The Ring’, with which Goldschmidt was doubtless acquainted) bears many characteristics of late Wagner and Liszt. Hanslick loathed it, which may be taken as a compliment in the light of his opinions of Goldschmidt’s idols. But it must also be said that Goldschmidt’s style bears one or two traits of the semi-professional, and that Liszt’s transcription does its best to elevate the material in a typical act of generous assistance to a younger composer. The Love Scene
has many an echo of Tristan
in it, whilst Fortune’s (Crystal) Ball
seems to be closely related to the Ride of the Valkyries. The bleak ending, side-stepping a comfortable C major finish for octave C sharps is Liszt’s own.
from notes by Leslie Howard © 1993