“Ich dirigier mit Vergnügen”. Liszt's Influence on Richard Strauss – Strauss Conducts Franz Liszt

1889 the Weimar Theatre intendant invited Richard Strauss to join the staff of the Hofoper as second Kapellmeister. Weimar was a tempting proposition for the recent convert to the New German School. The Lisztian effect was soon make itself felt in Strauss symphonic works. His Liszt studies were crucial to his musical development. Weimar offered him the opportunitiy to translate theory into practice. Liszt's orchestral music had been largely shunned and despised in the great tratidional performing centres of Europe during his life-time. He occupied a more commanding position in Munich's concert life (1894–99). In the Akademie season 1894–95 Strauss conducted in Berlin. He actively supported Liszt's music (Mephisto-Waltz, Die Ideale, Mazeppa, 2nd Piano Concerto). It was undoubtedly Liszt's perception of the complementary nature of form and expression that was attractive to Strauss. Form and content apart, Strauss's was also intrigued by Liszt's unconventional harmonic procedures and, by his indiviual style of orchestration. In 1898 Strauss moved to Berlin as erster königliche Kapellmeister at the Staatsoper. His modern concerts (1910–1903) featured Liszt symphonic poems. His admiration for Liszt's music and its seminal impact upon his own work is beyound doubt. His devotion to the Lisztian cause is transparent and was enduring: witness his tireless and activities on behalf of the Liszt Gesamtausgabe. Strauss kept Liszt's orchestral works in the public domain by making them the focal point of his permanent repertoire (Graner Messe, Mazeppa, Mephisto Walltz, Les Préludes, Orpheus, Faustsinfonie etc.). Liszt's music was a life-long obsession for Strauss