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[1811 - 1886]

 Illustration no. 4 de l'opéra 'le Prophète' de Giacomo Meyerbeer

Chorale: 'Ad nos, Ad salutarem undam' et fugue  (1850)

orchestration by Mark Starr of Franz Liszt's work for organ

Franz Liszt

link to biography of Franz Liszt

Giacomo Meyerbeer

link to biography of Giacomo Meyerbeer

A demo recording of this arrangement -- realized with digital musical sounds -- will begin to play automatically upon opening this page.  If you do not wish listen to it, please click on the STOP button (or the PAUSE button) on the media player, below. You may wish to adjust the volume on your computer to a more comfortable level.


The full score of Mark Starr's arrangement for symphony orchestra is available for perusal, audition, purchase, downloading and printing on the website www.sibeliusmusiccom.  To jump to the sheet music online, please click on the following link:

link to sheet music online of Mark Starr's orchestration of the Liszt/Meyerbeer Chorale: 'Ad nos, Ad salutarem undam' et fugue 

To display the score on a computer screen -- while listening to a synchronized MIDI performance of the music -- one must first download Sibelius' web music viewer, called Scorch.  Scorch is available free-of-charge on the sibeliusmusic.com website. (Just click on the green button marked Get Scorch)

To rent the instrumental parts for a public performance and/or commercial recording, please click on the link Contact Noteworthy in the left-hand column.

Giacomo Meyerbeer's opera Le Prophète was premiered in Paris in 1849 to wild acclaim. The public's enthusiasm for the work - especially for Meyerbeer's powerful music - was unbounded. The French critic and music historian Fetis called Le Prophete "a remarkable production in the History of Art."

Immediately following the Paris premier, a spectacular production was mounted in London. It, too, was a great success. The following year, the opera swept the major theaters of Europe, quickly becoming one of the most popular works of the mid-19th Century.

Scene from Meyerbeer's Le Prophète
by Edward Corbould

One musician who was particularly struck by the music in this opera was Franz Liszt. Although in 1850, he had his hands full mounting the premier production of Wagner's Lohengrin in Weimar (where Liszt was Director of the Court Opera,) he took time out to create four keyboard Illustrations of Meyerbeer's Le Prophète. Liszt's works are not typical piano fantaisies based on themes of popular operas, so characteristic of virtuoso pianists of the era. On the contrary, Liszt's Illustrations are among his most adventurous and monumental works. Supremely difficult to play, there is very little virtuoso filagree or keyboard acrobacy in any of them.

To complete this series of illustrations, Liszt composed a Fantaisie and Fugue based on the chorale sung by the Anabaptists (an original hymn by Meyerbeer entitled Ad nos, ad salutarem undam.) The Fantaisie and fugue is for organ, not for piano. It ranks among Liszt's most grandiose, complex and difficult works. Subsequently, Liszt published the Fugue alone, as the fourth of the Prophète illustrations.

Mark Starr has orchestrated Liszt's fugue, employing a huge symphony orchestra - such as Liszt utilized in his Faust Symphony. In addition, he has taken the chorale as it appears in Le Prophète, harmonized it as Liszt did in his Fantaisie, and orchestrated it for low woodwinds. He has employed the hymn as a short chorale introduction to the fugue


2 flutes
2 oboes
English horns
2 clarinets
bass clariknet
3 bassoons
4 horns
3 trumpets
3 trombones
3 percussion: bass drum, 2 piatti, triangle, orchestral bells