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“The poet hears two voices: one resounds the Lord with immense splendor – the other one is dull, full of pain, crying, and cursing. One is uttered by nature, the other by humanity! The two voices fight, cross, and merge into one another and finally both are dissolved and reverberated in reverent contemplation.” This is how Franz Liszt wrote his own impressions poem of Victor Hugo’s What's heard on the mountain, which prompted him to compose his first symphonic poem in 1848. Liszt, previously known as a piano composer, was free to experiment with orchestral sound in the Weimar court, gaining increasing routine. It is no coincidence that in nearly ten years he has presented the work in three different arrangements, and he has also written a two piano transcription and 1974 a four hands version. The latter will be performed at the piano recital of Edit Klukon and Dezső Ránki on their concert at the BMC in the frame of the Ars Sacra Festival.

The second half of the evening also features a Liszt work, Via Crucis, composed in 1878-79. For many years, the old master was interested in the musical presentation of the story of Christ’s suffering before writing the passion for choir, soloists and organ in just a few months. The introductory and fourteen stations come to life by means of a surprisingly modern harmonic toolset, which we can admire in Liszt’s own version for four-hands as well.