Leaf made history symphonic music as the creator of a new genre - one-part symphonic poem. Its name evokes instant associations with the atmosphere of poetry and clearly reflects the connection between music and literature that underlay Liszt’s aesthetics (as you know, Liszt was one of the most staunch supporters of programmatic creativity and synthesis various arts).
A symphonic poem embodies specific program content, sometimes very complex.

12 of Liszt's 13 symphonic poems date back to the heyday of his work, when the composer was the leader and conductor of the Weimar court theater.
The range of images embodied in Liszt's symphonic poems is very wide. Presented here world literature all centuries from ancient myths to the work of modern romantics. But among the motley variety of subjects, a philosophical problematic very specific to Liszt clearly stands out: problem of meaning human life.
The two most widely known of Liszt's poems are “Tasso” (where the composer turned to the personality of the remarkable Italian Renaissance poet Torquato Tasso) and “Preludes”.
"Preludes" is Liszt's third symphonic poem. Its name and program were borrowed by the composer from the poem of the same name by the French poet Lamartine. However, Liszt significantly departed from the main idea of ​​the poem, which was dedicated to thinking about the frailty of human existence. He created music full of heroic, life-affirming pathos.
The beginning of the poem is very typical for Liszt, who usually refuses solemn introductions and begins many works quietly, as if secretly. In “Preludes”, the abrupt, quiet sounds of the first bars give the impression of mystery and enigma. Then the typically romantic motive of the question arises, expressing the “key” initial phrase of the program: “Isn’t our life a series of preludes to an unknown hymn, the first solemn note of which will be taken by death?”), that is, the question about the meaning of life. This motive plays the role of a thematic core for all subsequent music of the composition.
Growing from the motive of the question, but acquiring the certainty of self-affirmation, the heroic main theme sounds powerful and solemn.
A secondary theme, according to the program plan, is the theme of love. Its connection with the main motive is more indirect. With the main theme, the secondary theme appears to be in a colorful, “romantic” relationship. The secondary sound of horns doubled by altos gives a special warmth and sincerity.

The love idyll of a side game in development gives way to storms of life, battle scenes and, finally, a large episode of a pastoral nature: the “hero” seeks repose in the lap of nature from the worries of life. All this evokes associations with violent gusts of wind. The storm episode is distinguished by its vivid visual imagery.
The next section - pastoral - resembles a slow movement. Its theme, alternately performed by various wind instruments, is entirely new. However, even here, in the transparent sound of pastoral tunes, the “intonation of a question” flashes, as if even in the lap of nature the hero cannot rid himself of his doubts.
The subsequent development of the side theme is aimed at its heroization: it becomes more and more active, energetic and, in a dynamic reprise, turns into a victorious march in a dotted rhythm. This march-like version of the side theme is again preceded by a connecting theme, which also loses its dreamy character and turns into a jubilant appeal. The heroization of lyrical images logically leads to the pinnacle of the entire work - a powerful performance main topic, which becomes the heroic apotheosis of the poem.

Symphonic poem "Preludes"

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Among the 12 poems, “Tasso” is number 2, which, however, is not determined either by the time of completion or the order of publication of the work. The hero of the poem is the great Italian Renaissance poet Torquato Tasso, whose epic poem “Jerusalem Liberated” has inspired many composers over the centuries. There is a lot of uncertainty in the fate of Tasso. Having shone at the court of the Duke of Ferrara, Alfonso II d'Este, the poet, at the age of 35, ended up in the hospital of St. Anne - a mental hospital and at the same time a prison, having ended up there either really because of the illness that struck him, or because of court intrigue. Legend called the reason imprisonment love - the poet’s daring, destroying all class barriers to Duke Alphonse’s sister Eleonora d’Este. Seven years later, having been released from prison thanks to the intercession of the Pope, Tasso - already a completely broken man - was proclaimed the greatest poet Italy and was awarded a laurel wreath, previously awarded only once to the great Petrarch.

Symphonic poem "Tasso"

However, death came earlier, and at a solemn ceremony in the Roman Capitol only the poet's coffin was crowned with laurels. "Complaint and Triumph: these are the two great oppositions in the fate of poets, about which it is rightly said that if a curse often weighs on their lives, then blessing never leaves their graves,” Liszt wrote in the program for this dramatic poem, depicting all the vicissitudes of the poet’s life - from prison and memories of love to well-deserved fame.

In the everyday view, Liszt appears as primarily an author of piano works and as a virtuoso pianist. However, in reality he wrote not much less music for orchestra than for piano. The composer felt as confident in orchestral works as in piano works. Liszt's freedom of direction in complex orchestral scores has become the stuff of legends. He sight-read them as if they were carefully memorized piano piece. The skill of reading scores came to Liszt during many years of work as a symphony and opera conductor. He conducted many premieres of orchestral compositions created by his contemporaries, i.e. mastered scores on which, so to speak, “the author’s ink had not yet dried.” In addition, the composer arranged a lot of orchestral music for piano, including creating piano versions full texts all nine Beethoven symphonies.

Liszt entered the history of symphonic music as the creator of a new genre - one-part symphonic poem . Its name evokes instant associations with the atmosphere of poetry and clearly reflects the connection between music and literature that underlay Liszt’s aesthetics (as is known, Liszt was one of the most staunch supporters of programmatic creativity and the synthesis of various arts). Since a symphonic poem embodies specific program content, sometimes very complex, its formation lacks the stability that is inherent in its older relatives - the symphony and overture. Most of Liszt's symphonic poems are based on the free or mixed form that was very common in the era of romanticism. This is the name for forms that combine the essential features of two or more classical forms. The unifying factor, as a rule, is the principle of monothematism (the creation of brightly contrasting images based on the same theme or motif).

12 of Liszt's 13 symphonic poems date back to the heyday of his work - the so-called. the Weimar period (I848–I86I, i.e. 50s), when the composer was the director and conductor of the Weimar court theater. Both Liszt's symphonies, Faust and Dante, were created at the same time. The composer turned to a cyclic form in them. The “Dante” symphony has two movements (“Hell” and “Purgatory”), the “Faust” symphony has three movements (“Faust”, “Margarita”, “Mephistopheles”. However, its parts are close in structure to symphonic poems).

The range of images embodied in Liszt's symphonic poems is very wide. World literature of all centuries is presented here, from ancient myths to the work of modern romantics. But among the motley variety of subjects, a philosophical problematic very specific to Liszt clearly stands out:

• the problem of the meaning of human life - “Preludes”, “Hamlet”, “Prometheus”, “Lament for Heroes”;
• the fate of the artist and the purpose of art - “Tasso”, “Orpheus”, “Mazeppa”;
• the fate of peoples and all humanity - “Hungary”, “Battle of the Huns”, “What is heard on the mountain”.

The two most widely known of Liszt's poems are: "Tasso" (where the composer turned to the personality of the remarkable Italian Renaissance poet Torquato Tasso) and "Preludes".

"Preludes" is Liszt's third symphonic poem. Its name and program were borrowed by the composer from the poem of the same name by the French poet Lamartine(under the impression of Lamartine’s poetry, the composer also created the piano cycle “Poetic and Religious Harmonies”). However, Liszt significantly departed from the main idea of ​​the poem, which was dedicated to thinking about the frailty of human existence. He created music full of heroic, life-affirming pathos.

Musical composition"Preludes" is based on freely interpreted principles of sonata allegro with monothematic connections between the most important themes. In the most general terms, the form can be defined as sonata-concentric(sonata allegro with an introduction, an episode in development and a mirror reprise of a dynamized nature).

The beginning of the poem is very typical for Liszt, who usually refuses solemn introductions and begins many works quietly, as if secretly. In “Preludes”, the abrupt, quiet sounds of the first bars give the impression of mystery and enigma. Then the typically romantic motive of the question arises - do-si-mi (m.2 down - part 4 up), expressing the “key” initial phrase of the program: “Isn’t our life a series of preludes to an unknown hymn, the first solemn note of which will be taken by death?”), that is, the question about the meaning of life. This motive plays the role of a thematic core for all subsequent music of the composition.

Growing from the motive of the question, but acquiring the certainty of self-affirmation, heroic main topic (C major) sounds powerful and solemn with trombones, bassoons and low strings. The connecting and secondary themes clearly contrast with the main one, painting the image of a hero with another side dream of happiness and love. In this case, the connecting piece is a “lyricized” version of the main theme, presented by cellos in a very melodious manner. Subsequently, it receives a cross-cutting meaning in the poem, appearing on the edges of important sections and, in turn, undergoing variant transformations.

Side(E-dur), according to the program plan, is the theme of love. Its connection with the main motive is more indirect. With the main theme, the secondary theme appears in a colorful, “romantic” third relationship. The secondary sound of the horns, doubled by divizi violas, gives a special warmth and sincerity.

The love idyll of a side party in development is replaced by life's storms, battle scenes and, finally, a large episode of a pastoral nature: the “hero” seeks repose in the bosom of nature from the worries of life (one of the most typical ideological and plot motifs of romantic art). In all these sections there are transformations of the main motive. IN storm episode (first section of development) it becomes more unstable due to the appearance of mind in it.4. All harmony, based primarily on diminished seventh chords and their parallel movements along the tones of the chromatic scale, also becomes unstable. All this evokes associations with violent gusts of wind. The storm episode, reminiscent of a sonata development in many ways, is distinguished by its vivid picturesque imagery. It continues the long tradition of “musical thunderstorms” (Vivaldi, Haydn, Beethoven, Rossini) and has a clear resemblance to the stormy, dramatic scherzo of the symphonic cycle.

The next section is pastoral – resembles a slow movement. Its theme, alternately performed by various wind instruments, is entirely new (it is an “episode” in development). However, even here, in the transparent sound of pastoral tunes, the “intonation of a question” flashes, as if even in the lap of nature the hero cannot rid himself of his doubts. Later, after echoes of the connecting theme, a secondary theme is included in the development, very naturally continuing the music of the lyrical episode. Here the mirror reprise of the poem formally begins, but the key is new - As-dur.

The subsequent development of the side theme is aimed at its glorification: it becomes more and more active, energetic and in dynamic reprise turns into a victory march in a dotted rhythm. This march-like version of the side theme is again preceded by a connecting theme, which also loses its dreamy character and turns into a jubilant appeal. The heroization of lyrical images logically leads to the peak of the entire work - the powerful implementation of the main theme, which becomes the heroic apotheosis of the poem.

Liszt's symphonic poems are one of the brightest pages of European romantic music, an area of ​​tireless creative searches, amazing updates in the field of thematics, form, orchestration, interaction with diverse national origins. The composer's characteristic desire for synthesis with other arts, for the creation of programmatic works, clearly manifested itself in the poems. Images of ancient myths (“Prometheus” and “Orpheus”), images of masterpieces of world literature (“Tasso” by Goethe, “Mazeppa” and “What is Heard on the Mountain” by Hugo, “Hamlet” by Shakespeare, “Ideals” by Schiller, “ Preludes" according to Lamartine), images visual arts(“The Battle of the Huns” according to Kaulbach, “From the Cradle to the Grave” according to Zichy), and finally, images of the homeland (“Hungary”, “Lament for Heroes”), all this was translated into Liszt’s symphonic opuses. With all the variety of plots and characters, the main themes that the composer embodies here, the greatness of man and his deeds, the passionate desire for freedom and happiness, the inevitable triumph of goodness and justice, the healing effect of art that contributes to the improvement of humanity, stand out clearly.

Amazes with the beauty of sound early symphonic poem No. 1 "What is heard on the mountain", originally titled "Mountain Symphony". Liszt here was inspired by the poem of the same name by Victor Hugo. The program of the poem is based on the romantic idea of ​​​​contrasting majestic nature with human sorrows and suffering. What do you hear in the mountains on the coast of Brittany? The sound of the wind from frosty heights, the roar of ocean waves crashing against the rocks, shepherd melodies from the green meadows at the foot of the cliffs... and the cry of suffering humanity. And you can hear all this in music.

Hero symphonic poem No. 2 "Tasso"- the great Italian Renaissance poet Torquato Tasso (1544-1595), whose epic poem “Jerusalem Liberated” inspired many over the centuries, including Goethe. At the age of 35, the poet found himself in a mental home and at the same time in prison, having ended up there due to court intrigue. The legend called the reason for the imprisonment love - the daring, destroying all class barriers of the poet's love for Duke Alfonso's sister Eleonora d'Este. Seven years later, emerging from prison thanks to the intercession of the Pope, Tasso - already a completely broken man - was proclaimed the greatest poet of Italy and awarded the laurel a wreath, previously awarded only once to the great Petrarch. However, death came earlier, and at a solemn ceremony in the Roman Capitol only the poet's coffin was crowned with laurels."Complaint and Triumph: these are the two great oppositions in the fate of poets, about which it is rightly said that if a curse often looms over their lives, the blessing never leaves their graves,” Liszt wrote in the program for this dramatic poem, depicting all the twists and turns of the poet’s life - from prison and memories of love to well-deserved fame.

Symphonic poem No. 3 - "Preludes". Its name and program were borrowed by the composer from the poem of the same name by the French poet Lamartine. However, Liszt significantly departed from the main idea of ​​the poem, which was dedicated to thinking about the frailty of human existence. He created music full of heroic, life-affirming pathos. Pictures of life are embodied by Liszt in a series of bright, colorful episodes, filled with genre and visual details (march, pastoral, storm, battle, trumpet signals, shepherd's tunes). They are compared according to the principle of contrast and at the same time are closely related to each other: throughout the entire poem, Liszt skillfully transforms the leading theme, applying his characteristic principle of monothematism

IN symphonic poem No. 4 "Orpheus", conceived as an overture to Gluck's opera of the same name, the mythical tale of the sweet-voiced singer was embodied in a generalized philosophical sense. Orpheus for Liszt becomes a collective symbol of art. This is one of Liszt’s most lapidary and succinct works. The poem is multi-themed, but all the themes are intonationally interconnected and flow into one another. The long lasting sound of “G” from the horns is replaced by the plucking of the harps - this is obviously the image of the lyre player Orpheus, who listens attentively to the world. The magical sound of these sounds from the horns sets you in an elevated mood and introduces you to a poetic atmosphere. The main part of the diatonic winds and strings gravitates towards epic breadth, although it does not achieve it. This is the image of the universe that the artist seeks to understand, an objectified, extrapersonal reality. The non-extended connecting theme that replaces it symbolizes the artist’s quest. With a descending melodic figure, Liszt depicts the image of the music-Eurydice that Orpheus is looking for. In an effort to give this theme a special timbral warmth and enlightenment, Liszt entrusts the theme to the solo violin, and then to the solo cello. The composer's programmatic intention here is transparent and clear: the ideal is unattainable, Eurydice is just a mirage that is impossible to maintain. Art is doomed to an eternal search without accomplishment.

Symphonic poem No. 5 "Prometheus" dedicated to the legendary sufferer and humanist, who for centuries has excited the imagination of the creative elite of mankind. The poem originated as an overture to the drama of the famous German poet Gottfried Herder. “Suffering (misfortune) and glory (bliss)! In this way the main idea of ​​this all-too-true tale can be expressed in a condensed form, and in this form it becomes like a storm, like flashing lightning. Grief, overcome by the persistence of indestructible energy, is what constitutes the essence of musical content in this case.”

Symphonic poem No. 6 "Mazeppa", devoted to historical figure in fate, which clearly revealed the antithesis of suffering and triumph, beloved by the romantics. Hugo's poem is published in its entirety as a program in the score. Liszt was inspired primarily by the main, first part of the poem, full of colorful pictures, eerie details, a feeling of the horror of death - in comparison with the triumph of an unbroken hero, welcomed by the whole people: “He rushes, he flies, he falls, And rises as a king!”

Software concept symphonic poem No. 7 "Festive sounds" not related to historical events or literary subjects. It is known that the composer sang here his union (i.e. wedding) with Princess Caroline Wittgenstein and could not do without portrait characteristics himself and his girlfriend.

Symphonic poem No. 8 "Lament for Heroes" created on the basis of the “Revolutionary Symphony” (1830), unfinished by the young Liszt, dedicated to french revolution. Bitter laments and glorification of the revolutionary struggle, world grief and social protest are heard in this dramatic poem, unusual in form, where the eerie drum roll and scenes of execution in the middle give way to one of the best lyrical themes in the composer's work. A general artistic connection can be traced between this work and one of Liszt’s most popular piano pieces, “The Funeral Procession,” created as a musical monument to the tragically deceased heroes of the revolution that took place in his native Hungary. The appearance of this work bears the stamp of the tragic disappointment of the romantic artist, and it is connected primarily with the defeat of the revolution that swept through the countries of central Europe in 1848-49.

Symphonic poem No. 9 "Hungary" often called the orchestral "Hungarian Rhapsody". It arose in response to a poem dedicated to Liszt by the Hungarian poet Veresmarty. With this poem, Vörösmarty welcomed a decade and a half ago, in January 1840, the arrival to his homeland of a young, not yet 30 years old, but already world-famous pianist. Liszt's tour then acquired the character of a national celebration. He was awarded the title of honorary citizen of the city of Pest; after the concert in National Theater, where Liszt performed in Hungarian national costume, he was presented with a “saber of honor” on behalf of the nation. These impressions were reflected in the composer’s works on national themes that appeared at the same time - “Heroic March in the Hungarian Style” and “Hungarian National Melodies and Rhapsodies.” Many years later, Liszt borrowed from there three themes for the symphonic poem “Hungary”: two heroic, marching ones and one in the spirit of the fiery folk dance Csardas.

Symphonic poem No. 10 "Hamlet"- the most recent poem of the Weimar period in terms of time of composition, placed, however, when published under number ten. Like many of Liszt's symphonic poems, it was based on an overture intended for the production of a Shakespearean tragedy. All the heroes of Shakespeare's tragedy are captured in the music - Hamlet, Ophelia, etc.

Software prototype of the battle symphonic poem No. 11 - "Battle of the Huns" quite unusual. It's figurative. Painted in 1834-1835 by the fashionable historical painter Wilhelm von Kaulbach, the fresco of the same name adorned the main staircase of the new Berlin Museum. The painting depicts a bloody battle that raged all day and left only a few wounded on the ground. It continues in heaven, where in the center of one group is a mighty Hun in a helmet with a raised sword, and another group is overshadowed by a flying angel with a cross. Liszt was captivated by the deeply humanistic meaning of the artist’s creation: the triumph of Christian love and mercy over pagan savagery and bloodthirstiness
http://s017.radikal.ru/i441/1110/09/f47e38600605.jpg

Symphonic poem No. 12 "Ideals" inspired by Schiller's poem of the same name: “The ideal is nothing more desirable, and nothing more unattainable. Only he will find the way to it who creates slowly and never destroys”...

During the summer of 1881, the composer, overwhelmed by thoughts of impending death, wrote his last symphonic poem No. 13 "From the cradle to the grave", inspired by the Cradle to Grave pen drawings given to him by the famous Hungarian artist Mihaly Zichy. http://s017.radikal.ru/i403/1110/71/363fe132803b.jpg At the request of Princess Wittgenstein, the word “coffin” was replaced by “grave”, and the poem was finally called “From the Cradle to the Grave”. The music of Liszt's last poem is sad and bright...

Two episodes from Lenau's "Faust" - "Night Procession" and "Dance in the Village Tavern (Mephisto Waltz)". The images of Faust and Mephistopheles excited Liszt throughout his entire life. creative life. Lenau is dominated by Mephistopheles, the spirit of negation and destruction, endowed with an unyielding will and unbridled power of passions. The triumph of evil is undeniable: such a Mephistopheles easily subjugates Faust - a confused man, sometimes overwhelmed with delight, sometimes plunged into the abyss of despair, unable to control either his feelings or life circumstances. The opening section of “Night Procession” is built on sharp contrast. Its first theme, mournful and gloomy, is a characteristic of Faust's state of mind. The hero is confronted by serene spring nature: in the transparent sound of strings, woodwinds, and horns one can hear the trills of a nightingale, the rustling of trees, and the babbling of streams. The distant ringing of a bell foreshadows the central episode - the procession itself. Liszt based it on the theme of the Catholic chorale “Pange lingua gloriosi” (“Sing, O tongue”), the text of which is attributed to Thomas Aquinas. More instruments enter, the procession approaches, then fades into the distance. Silence reigns again. And, like an explosion of despair, it sounds opening theme: “sobbing violently,” according to the author’s remark, the motifs of violins, flutes and oboes fall. They fade away in the dull bass of the string group, thus framing the entire work with a picture of the hero’s soul, which for Liszt is more important than pictorial sketches. The Mephisto Waltz forms a sharp contrast to the first episode. This is a real waltz poem - swift, exciting, completely devoid of slow tempos. Two images are masterfully juxtaposed: a real everyday dance with comic effects and a fantastic dance. The first embodies the playing of village musicians, and a full symphony orchestra imitates the sound of a peasant ensemble. Musicians take a long time to prepare, tune in, and gather their courage. Finally, the violas and cellos confidently perform the rural, according to the author’s direction, rough, sharply accented theme. The fun is growing, more and more new dancers are rushing by like a whirlwind in a riotous dance. Then, tired, they stop. Cellos in an unusually high register begin new topic(the author’s remark “tenderly, lovingly”) - languid, sensual, chromatic, not fitting into a clear dance grid. It was Mephistopheles who appeared; its theme is completed by the fading sound of a solo violin. An even more rapid-fire fantasy episode begins. And when the village dance returns, the devilish chanting does not allow it to unfold, distorts its motives - they obey the will of Mephistopheles, becoming just as broken, chromatic. Now the devil himself rules the roost. The dance turns into a frantic bacchanalia, the three-beat meter is replaced by a two-beat, “the movement of the waltz turns into some kind of wild czardash, full of fire and unbridled passion." At the climax, the dance breaks off, and the fantastic episode is repeated once again; heavily abbreviated, it ends with the peaceful voices of nature (cadence of solo flute, glissando of harp). But the last word remains with Mephistopheles: the frenzied dance explodes again, menacingly triumphant, the devilish motif is repeatedly affirmed in the bass of the orchestra. Suddenly everything becomes quiet, disappears into the distance; all that remains is the fading rustle of the timpani and the pizzicato of the cellos and double basses. After a harp glissando, Liszt inscribed the final line from Lenau: “And, raging, the sea of ​​passion swallows them up.”

Conductor Arpad Joó (Hungarian: Árpád Joó) born in Budapest on June 8, 1948, comes from an ancient Hungarian family, a child prodigy. Even in his childhood, he was noticed by Zoltan Kodaly and came under his patronage; he studied at the Budapest Academy of Music. Franz Liszt by Pal Kadosy and József Gat. In 1962 he won the Liszt and Bartok Piano Competition in Budapest. He then studied conducting at the Juilliard School and Indiana University, and studied with Igor Markevich in Monte Carlo. In 1973-1977 chief conductor of the Knoxville Symphony Orchestra, 1977-1984. - Calgary Philharmonic Orchestra, 1988-1990. - Symphony Orchestra of the Spanish Radio and Television. Performed with the London symphony orchestra. He worked as a guest conductor with the European Community Orchestra. The conductor's recording of the complete cycle of works by Kodály and Bartók became an event not only in Hungary. In 1985, for the 100th anniversary of Liszt’s death, he recorded the complete collection of his symphonic poems with the Budapest Symphony Orchestra, for which he received the coveted "Grand Prix du Disque" in Paris, straight from the hands of the French Minister of Culture Leotard. Why did the French like Liszt performed by the Budapests and Arpad Joo so much? Probably due to the softness and plasticity of the interpretation. There are no usual stunning “special effects” and artificial external pathos here, but there are soulful melodies.

Listen:http://www.youtube.com/watch?v=yfhf7_mUccY

Ferenc Liszt - Symphonic Poems Complete
Budapest Symphony Orchestra / Arpad Joo
Recorded Budapest 1984/5 DDD
1987 "Grand Prix Du Disque", Paris, France

Franz Liszt (1811-1886)

CD1
Symphonic poem No. 1. What is heard on the mountain ("Mountain Symphony") (after Hugo, 1847-1857) (30:34)
Symphonic poem No. 2. Tasso. Lamentation and Triumph (after Goethe, 1849-1856) (21:31)
Symphonic poem No. 3. Preludes (after Lamartine, 1850-1856) (15:52)

CD2
Symphonic poem No. 4. Orpheus (as introduction and conclusion to Gluck's Orpheus, 1856)(11:36)
Symphonic poem No. 5. Prometheus (after Herder, 1850-1855) (13:29)
Symphonic poem No. 6. Mazepa (after Hugo, 1851-1856) (15:54)
Symphonic poem No. 7. Festive Sounds (Caroline Wittgenstein, 1853-1861) (19:47)

CD3
Symphonic poem No. 8. Lament for Heroes (based on the first movement of the "Revolutionary Symphony", 1830-1857) (24:12)
Symphonic poem No. 9. Hungary (response to a patriotic poem by Vörösmarty, 1839-1857) (22:22)
Symphonic poem No. 10. Hamlet (after Shakespeare, 1858-1861)(14:35)

CD4
Symphonic poem No. 11. Battle of the Huns (based on a fresco by Kaulbach, 1857-1861) (13:58)
Symphonic poem No. 12. Ideals (according to Schiller, 1857-1858)(26:55)
Symphonic poem No. 13. From cradle to grave (based on a drawing by M. Zichy, 1881-1883)
I. Cradle (6:31) / II. The struggle for existence (3:14) / III. Grave (7:38)

CD5
Two episodes from Faust by Lenau (1857-1866)
I. Night procession (15:15)
II. Dance in a village tavern (Mephisto Waltz No. 1) (11:54)
Mephisto Waltz No. 2 (1880-1881) (11:41)
Proclamation and Hungarian Anthem (1873) (10:13)

Ewa Kwiatkowska () updated the link to the audio recording:

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G. Krauklis `Symphonic poems of F. Liszt`
Moscow, 1974, 144 pages.
The book is a popular science essay on Liszt's symphonic poems
CONTENT
Program symphony by F. Liszt and his symphonic poems 5
“What is heard on the mountain” (“Ce qu’on entend sur la montagne”) 30
“Tasso. Complaint and Triumph" (“Tasso. Lamento e trionfo”) 43
“Preludes” (“Les Préludes”) 53
"Orpheus" 62
"Prometheus" 71
"Mazeppa" 77
“Festive Sounds” (“Fest-Klänge”) 85
“Lament for Heroes” (“Héroїde funèbre”) 93
“Hungary” (“Hungaria”) 99
"Hamlet" 107
“Battle of the Huns” (“Hunnenschlacht”) 114
“Ideals” (“Die Ideale”) 122
Notes 135
Applications 140
References 141

symphonic poem

genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of ​​a synthesis of arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). The creator of the genre is F. Liszt.

Wikipedia

Symphonic poem

Symphonic poem- a genre of symphonic music that expresses the romantic idea of ​​a synthesis of arts. A symphonic poem is a one-movement orchestral work that allows for various sources of program (literature and painting, less often philosophy or history; paintings of nature). A symphonic poem is characterized by the free development of musical material, combining various principles of formation, most often sonata and monothematism with cyclicity and variability.

The emergence of the symphonic poem as a genre is associated, first of all, with the name of Franz Liszt, who created 12 works of this form in 1848 - 1881. Some researchers, however, point to the 1846 work of Cesar Franck, “What is Heard on the Mountain,” based on a poem by Victor Hugo and preceding Liszt’s work on the same basis; Frank's poem, however, remained unfinished and unpublished, and the composer again turned to this genre much later. Felix Mendelssohn is called Liszt's immediate predecessor, primarily his Hebrides Overture (1830 - 1832).

After Liszt, many other composers worked in this genre - M. A. Balakirev, H. von Bülow, J. Gershwin, A. K. Glazunov, A. Dvorak, V. S. Kalinnikov, M. Karlovich, S. M. Lyapunov , S. S. Prokofiev, S. V. Rachmaninov, A. G. Rubinstein, C. Saint-Saens, J. Sibelius, A. N. Scriabin, B. Smetana, J. Suk, Z. Fibich, S. Frank , P. I. Tchaikovsky, M. K. Ciurlionis, A. Schoenberg, E. Chausson, D. D. Shostakovich, R. Strauss, J. Enescu and others.

“Poem” for violin and orchestra by E. Chausson was also written under the influence of the symphonic poem genre.

“Choreographic poem” “Waltz” by M. Ravel is a symphonic poem that suggests the possibility of stage implementation.

The most radical rethinking of the symphonic poem genre was proposed by D. Ligeti in his Symphonic Poem for 100 metronomes.

Other genres were also influenced by the symphonic poem in their development -

SYMPHONY POEM

This concept appeared in musical art in 1854: the Hungarian composer Franz Liszt gave the definition of “symphonic poem” to his orchestral work “Tasso,” originally conceived as an overture. With this definition, he wanted to emphasize that Tasso is not just software musical composition. It is extremely closely related to poetry in its content. Subsequently, Liszt wrote twelve more symphonic poems. The most famous among them is “Preludes”. It is based on the poem “Preludes” (more precisely “Preludes”) by the French romantic poet Lamartine, in which all human life is viewed as a series of episodes - “preludes” leading to death. Liszt’s work also developed a form that is most characteristic of a symphonic poem: free, but with obvious features of a sonata-symphonic cycle (see the story about the symphony), if it is performed without a break between movements. The diverse episodes of the symphonic poem have similarities with the main sections of the sonata form: the main and secondary parts of the exposition, development and reprise. At the same time, individual episodes of the poem can be perceived as parts of a symphony. After Liszt, many composers turned to the genre he created. The classic of Czech music Bedřich Smetana has a cycle of symphonic poems, united by the general title “My Motherland”. The German composer Richard Strauss loved this genre very much. His Don Juan, Don Quixote, and The Merry Tricks of Till Eulenspiegel are widely known. Finnish composer Jean Sibelius wrote a symphonic poem "Kalevala", which is based on Finnish as a literary source folk epic. Russian composers preferred to give other definitions to their orchestral works of this type: fantasy overture, symphonic ballad, overture, symphonic picture. The symphonic genre, common in Russian music, has some differences. Its programming is not related to the plot, but paints a landscape, portrait, genre or battle scene. Everyone is probably familiar with these symphonic paintings, like “Sadko” by Rimsky-Korsakov, “In Central Asia"Borodin, "Baba Yaga", "Kikimora" and "Magic Lake" by Lyadov. Another variety of this genre - symphonic fantasy - also loved by Russian composers, is distinguished by greater freedom of construction, often by the presence of fantastic elements in the program.

Creative portraits of composers. - M.: Music. 1990 .

See what "SYMPHONY POEM" is in other dictionaries:

Genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of ​​a synthesis of arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). Creator of the F genre... Big encyclopedic Dictionary

- (German symphonische Dichtung, French poime symphonique, English symphonic poem, Italian poema sinfonica) one-part program symphony. work. The genre of S. p. was completely formed in the work of F. Liszt. The name itself comes from him. S.p....... Music Encyclopedia

- (German symphonische Dichtung) a genre of symphonic music expressing the romantic idea of ​​a synthesis of arts. A symphonic poem is a one-movement orchestral work that allows for various program sources (literature... ... Wikipedia

Genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of ​​a synthesis of arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). Creator of the genre... encyclopedic Dictionary

An orchestral composition in which the components are in close, inextricable connection. S. the poem is written on a program for which some poetic work is selected. The program also influences the form of this kind of S. work, not... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

Symphonic poem for 100 metronomes by György Ligeti (1962). The piece is “performed” by hundreds of metronomes, pre-programmed to play a given tempo and musical signature. All metronomes start playing... ... Wikipedia

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This term has other meanings, see Thus Spoke Zarathustra (meanings). Thus spoke Zarathustra (German: Also sprach Zarathustra) symphonic poem German composer Richard Strauss. Written in 1896 under the influence of ... Wikipedia

This term has other meanings, see Isle of the Dead ... Wikipedia

This term has other meanings, see Finland (meanings). Finland ... Wikipedia

Books

• Symphonic Poem, Op. 14, A. Dvorak. Reprint sheet music edition of 'Symphonic Poem, Op. 14`. Genres: Symphonic poems; For orchestra; Scores featuring the orchestra. We created especially for you, using our own patented...
• Symphonic Poem, Op. 14, A. Dvorak. Reprint sheet music edition of "Symphonic Poem, Op. 14". Genres: Symphonic poems; For orchestra; Scores featuring the orchestra. We created especially for you, using our own...