For these concerts

For these concerts, Bache programmed five of Liszt's symphonic poems, the Faust and Dante symphonies, the Thirteenth Psalm and the Legend of St. Elisabeth.[34] Works of Berlioz, Schumann and Wagner were also featured, but Liszt's compositions predominated.[37] While the performances of the Faust and Dante symphonies were British premieres, the symphonic poems had previously been introduced at the Crystal Palace; nevertheless, Bache felt that offering repeat performances of the symphonic poems was important in making them familiar to audiences.[36] Les préludes was performed three times at the Bache concerts, Mazeppa, Festklänge and Orpheus each twice and Tasso once.[36] Part of this strategy of familiarity was the inclusion of the two-piano arrangements of the symphonic poems as a way to prepare audiences for the orchestral versions.[32] Bache had begun this practice with his first concert in 1865, when he and Dannreuther presented the two-piano arrangement of Les préludes.[17] Another part of this strategy was supplying learned, well-considered and thoroughly detailed essays for program notes. Sometimes Bache wrote them himself; at other times, he relied on prominent theorists such as Carl Weitman and Frederick Niecks. According to musicologist Alan Walker, they "are filled with insights that were both new and original for their time, and they are lavishly illustrated with music examples—a sure sign that they were aimed at a sophisticated public and were intended to have a potential life after the concert was over."[38] According to Walker, they still are worth study for Liszt scholars as many of the ideas, while transmitted through members of Liszt's inner circle, probably originated with the composer himself.[38] These notes, along with the inclusion of the two-piano arrangements and what musicologist Michael Allis calls "a thoughtful approach to programming ... all contributed to an aggressive marketing of Liszt's new status as a composer".[32]best car insurance
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