![]() ![]() However, the European music scene underwent a transformation in the 1840s. In the 1830s, concert halls were few, and orchestras served mainly in the production of operas-symphonic works were considered far lower in importance. The lower and middle classes began to take an interest in the arts, which previously had been enjoyed mostly by the clergy and aristocracy. Schonberg, which brought changes to the early 19th-century lifestyles of the working masses. This was a consequence of the Industrial Revolution, according to music critic and historian Harold C. Īccording to cultural historian Hannu Salmi, classical music began to gain public prominence in Western Europe in the latter 18th century through the establishment of concerts by musical societies in cities such as Leipzig and the subsequent press coverage of these events. Background Goethe and Schiller in front of the Deutsches Nationaltheater and Staatskapelle Weimar, where many of Liszt's symphonic poems premiered. In this regard, Liszt authority Humphrey Searle suggests that he may have been closer to his contemporary Hector Berlioz than to many who would follow him in writing symphonic poems. However, Liszt's view of the symphonic poem tended to be evocative, using music to create a general mood or atmosphere rather than to illustrate a narrative or describe something literally. They underwent a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a balance of musical form.Īware that the public appreciated instrumental music with context, Liszt provided written prefaces for nine of his symphonic poems. The composition of the symphonic poems proved daunting. To capture these dramatic and evocative qualities while achieving the scale of an opening movement, he combined elements of overture and symphony in a modified sonata design. At the same time, Liszt wanted to incorporate the abilities of program music to inspire listeners to imagine scenes, images, or moods. Liszt's intent, according to musicologist Hugh MacDonald, was for these single-movement works "to display the traditional logic of symphonic thought." In other words, Liszt wanted these works to display a complexity in their interplay of themes similar to that usually reserved for the opening movement of the Classical symphony this principal self-contained section was normally considered the most important in the larger whole of the symphony in terms of academic achievement and musical architecture. They inspired the symphonic poems of Bedřich Smetana, Antonín Dvořák, Richard Strauss and others. These works helped establish the genre of orchestral program music-compositions written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature. The first 12 were composed between 18 (though some use material conceived earlier) the last, Von der Wiege bis zum Grabe ( From the Cradle to the Grave), followed in 1882. The symphonic poems of the Hungarian composer Franz Liszt are a series of 13 orchestral works, numbered S.95–107. ![]() Franz Liszt, after a painting of 1856 by Wilhelm von Kaulbach.
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