![]() ![]() Neither Wagner nor Brahms wrote symphonic poems in the Lisztian sense so it stood to reason that neither did their respective followers. Either one was Wagnerian, devoted to the idea of music drama, which usually meant opera, or one was Brahmsian, devoted to the idea of symphonic composition. Examples of symphonic or tone poems are Liszt's 'Les Preludes' and Smetana's 'The Moldau.' symphonic poem Franz Liszt created the, a major innovation in the field of Romantic orchestral music. Franz Liszt invented the tone poem during the 19th-century artistic period called Romanticism, and later composers, like Richard Strauss, added their own tone poems to the repertoire. One usually had to ally oneself with one or other approach to composition. German music in the second half of the 19th century was dominated by two composers, Wagner and Brahms. With technique to burn but poetry at the fore, Jean-Yves Thibaudets recordings of the two Liszt concertos have always held a special affection in many a music. German composers largely ignored the form in the mid-to-late 19th century for one peculiarly German reason. But it's interesting that in writing, performing and - most importantly - publishing his symphonic poems in Germany, Liszt didn't establish a lineage of other composers who took up the idea and wrote their own symphonic poems. Firstly he invented the term and wrote a substantial body of work exploring the concept, and secondly, most of this body of work is not widely known or regularly played today, and I think it should be. The powerful finale includes a revisitation of both themes.I've spent quite a bit of time on Liszt's symphonic poems for a couple of reasons. As musicologist Hugh Macdonald wrote of Liszts works in this genre, the intent was to display the traditional logic of symphonic thought that is, to display. The second theme rises majestically as the music becomes more tumultuous, eventually transforming into a funeral march. The theme from the piano work appears almost at once and, though interrupted by a cadenza for solo violin, dominates the first part of the work. Unlike many of Liszt's symphonic poems, it has no literary basis nor a specific program: the subject matter is Hungary itself, specifically in the happier times before the country's defeat in its war for independence. Die Ideale was composed for the unveiling of a Goethe and Schiller monument on Sept. It was first performed on 5 September 1857. Hungaria is partly extracted from Liszt's earlier piano work Heroic March in the Hungarian Style (1840). 106, is a symphonic poem composed by Franz Liszt in 18561857 and published in 1858 as No. Strauss: Also sprach Zarathustra (Thus Spoke Zarathustra) Tone Poem (freely after Friedrich Nietzsche) for Large Orchestra, Opus 30. All twelve works are dedicated to Princess Carolyne Sayn-Wittgenstein. Hungaria (1854) is the ninth of the twelve symphonic poems Liszt wrote during his tenure as Grand Ducal Director of Music Extraordinary at Weimar. Liszt's symphonic poems, however, were not exclusively dependent on their source material: the composer's goal was more to distill the essence of the poetic concept in music rather than to exactly recreate it. Franz Liszt was the inventor of the symphonic poem (also known as the tone poem), a form in which a literary or other nonmusical source provides a narrative foundation for a single-movement orchestral work.
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