The genre of the program symphonic poem in Liszt's work. Two famous symphonic poems F
The features of idealistic abstraction, rhetoric, outwardly oratorical pathos break through. At the same time, the essential symphonic creativity Liszt is great: consistently pursuing his idea of “renovating music through its connection with poetry,” he achieved remarkable artistic perfection in a number of compositions.
Programming underlies the vast majority of Liszt's symphonic works. The chosen plot suggested new means of expression, inspired bold searches in the field of form and orchestration, which Liszt always marked with brilliant sonority and brilliance. The composer usually clearly distinguished the three main groups of the orchestra - strings, woodwinds and brass - and inventively used solo voices. In tutti, the orchestra sounds harmonious and balanced, and at the moments of climax, like Wagner, he often used powerful brass unisons against the background of string figurations.
Liszt entered the history of music as the creator of a new romantic genre - " symphonic poem": for the first time he named nine works completed by 1854 and published in 1856-1857; four more poems were later written.
Liszt's symphonic poems are major program works in free single-movement form. (Only the last symphonic poem - From the Cradle to the Grave (1882) - is divided into three small parts that go without interruption.), where different principles of shaping are often combined (sonata, variation, rondo); sometimes this one-partness "absorbs" the elements of a four-part symphonic cycle. emergence this genre was prepared by the whole course of development of romantic symphonism.
On the one hand, there was a tendency towards the unity of the multi-part cycle, its unification by cross-cutting themes, the merging of parts (Mendelssohn's Scottish Symphony, Schumann's symphony in d-moll and others). On the other hand, the predecessor of the symphonic poem was the program concert overture, freely interpreting the sonata form (Mendelssohn's overtures, and earlier Beethoven's Leonore No. 2 and Coriolanus). Emphasizing this relationship, Liszt called many of his future symphonic poems in the first versions concert overtures. Prepared the birth of a new genre and large single-movement works for piano, devoid of a detailed program - fantasies, ballads, etc. (Schubert, Schumann, Chopin).
The circle of images embodied by Liszt in symphonic poems is very wide. He was inspired world literature all ages and peoples - from ancient myth(“Orpheus”, “Prometheus”), English and German tragedies of the XVII-XVIII centuries (“Hamlet” by Shakespeare, “Tasso” by Goethe) to the poems of French and Hungarian contemporaries (“What is heard on the mountain” and “Mazeppa” by Hugo, “Preludes » Lamartine, «To Franz Liszt» Vörösmarty). As in piano work, Liszt in his poems often embodied the images of painting ("Battle of the Huns" based on the painting German artist Kaulbach, "From the Cradle to the Grave" based on a drawing by the Hungarian artist Zichy), etc.
But among the motley variety of plots, the attraction to the heroic theme clearly emerges. Liszt was attracted by plots depicting strong in spirit people, pictures of great popular movements, battles and victories. He embodied in his music the image ancient hero Prometheus, who became a symbol of courage and unbending will. Like the romantic poets of different countries (Byron, Hugo, Slovak), Liszt was worried about the fate of the young Mazepa, a man who overcame unheard of suffering and achieved great fame. (Such attention to Mazepa's youth (according to legend, he was tied to the rump of a horse that ran across the steppe for many days and nights), and not to the historical fate of the hetman of Ukraine - a traitor to the motherland - is typical, unlike Pushkin, for foreign romantics.). In "Hamlet", "Tasso", "Preludes" the composer glorified the human feat of life, his eternal impulses towards light, happiness, freedom; in "Hungary" he sang the glorious past of his country, its heroic struggle for liberation; "Lament for Heroes" dedicated to the revolutionary fighters who fell for the freedom of their homeland; in the “Battle of the Huns” he painted a picture of a gigantic clash of peoples (the battle of the Christian army with the hordes of Attila in 451).
Liszt has a peculiar approach to the literary works that formed the basis of the program of the symphonic poem. Like Berlioz, he usually prefaces the score with a detailed presentation of the plot (often very extensive, including both the history of the origin of the idea and abstract philosophical reasoning); sometimes - excerpts from a poem and very rarely limited to only a general heading ("Hamlet", "Festive bells"). But, unlike Berlioz, Liszt interprets the detailed program in a generalized way, not conveying the consistent development of the plot through music. He usually aims to create a bright, prominent image. central hero and focus all the attention of the listener on his experiences. This central image is also interpreted not in a concrete everyday, but in a generalized elevated way, as a carrier of a great philosophical idea.
In the best symphonic poems, Liszt managed to create memorable musical images and show them in various life situations. And the more multifaceted the circumstances in which the hero fights and under the influence of which different aspects of his character are revealed are outlined, the brighter his appearance is revealed, the richer the content of the work as a whole.
The characteristics of these living conditions are created by a number of musical expressive means. Generalization through the genre plays an important role: Liszt uses certain, historically established genres of march, chorale, minuet, pastoral and others that contribute to concretization musical images and make them easier to understand. Often he uses visual techniques to create pictures of storms, battles, races, etc.
Headship central image gives rise to the principle of monothematism - the whole work is based on the modification of one leading theme. This is how many of List's heroic poems are constructed ("Tasso", "Preludes", "Mazeppa".) Monothematism is further development variational principle: instead of a gradual disclosure of the possibilities of the topic, a direct comparison is given of its far-off, often contrasting variants. Thanks to this, a single and at the same time multifaceted, changeable image of the hero is created. The transformation of the main theme is perceived as showing various aspects of his character - as changes that arise as a result of certain life circumstances. Depending on the specific situation in which the hero acts, the structure of his theme also changes.
symphonic poem
genre of symphonic program music. A one-part orchestral work, in accordance with the romantic idea of the synthesis of the arts, allowing various sources programs (literature, painting, less often philosophy or history). The creator of the genre is F. Liszt.
Wikipedia
Symphonic poem- genre symphonic music expressing the romantic idea of the synthesis of the arts. A symphonic poem is a one-part orchestral work that allows for various program sources (literature and painting, less often philosophy or history; pictures of nature). The symphonic poem is characterized by free development musical material, combining various principles of shaping, most often sonata and monothematism with cyclicity and variation.
The emergence of the symphonic poem as a genre is associated primarily with the name of Franz Liszt, who created 12 works of this form in 1848-1881. Some researchers, however, point to Cesar Franck's 1846 essay "What is heard on the mountain", based on a poem by Victor Hugo and preceding Liszt's composition on the same basis; Frank's poem, however, remained unfinished and unpublished, and the composer again turned to this genre much later. Liszt's immediate predecessor is Felix Mendelssohn, most notably 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. Rubinshtein, C. Saint-Saens, J. Sibelius, A. N. Skryabin, 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, suggesting the possibility of stage embodiment.
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 -
Liszt is an innovator and creator of the symphonic poem genre.
A symphonic poem is a program orchestral composition, a genre that became widespread in the era of romanticism and includes features of a program symphony and a concert overture. This genre was fully developed in the work of F. Liszt, who introduced this name. He first gave it in the 1854 Tasso Overture. After that, he began to call all his one-part program symphonic compositions symphonic poems. The name itself indicates the connection between music and poetry. Also an important kind of program music is software symphony.
Liszt wrote 13 symphonic poems, the most famous being Preludes (1848), Tasso, Orpheus (1854), Battle of the Huns (1857), Ideals (1867), Hamlet (1858). His poems combine different structures and features of various instrumental genres.
Monothematism (from mono... and theme), the principle of constructing a musical work, associated with the unification of one theme of the sonata-symphony cycle or one-part forms derived from it. An early example of Monothematism - Beethoven's 5th symphony, initial theme which in a transformed form is carried through all parts. higher development Monothematism reached in the era of musical romanticism, in program musical works G. Berlioz and F. Liszt. In the symphonic poems of F. Liszt, new type forms that combine the features of the sonata allegro and the sonata-symphony cycle; the integrity of the works is ensured by the use of one theme, which undergoes figurative transformations and takes on a different appearance, corresponding to different stages of plot development.
F. Liszt "Preludes" - symphonic poem in C major (1854)
The poem was conceived as an overture to four male choirs based on Otran's poems "The Four Elements" ("Earth", "Winds", "Waves", "Stars"). The first version was completed in 1848. By 1854 it was revised as an independent work with an epigraph from Lamartine. Liszt's poem is much brighter and more figurative than its program. The Preludes is one of Liszt's finest symphonic works. The composer entered the history of music as the creator of a new romantic genre - the "symphonic poem", a one-part symphonic work free form.
Liszt is considered a paramount figure in the history of music. As a composer and transcriber, he created over 1,300 works. Liszt in his composing activities gave the palm to the solo piano. Probably the most popular work Liszt - Dreams of Love, and among the grandiose list of his other works for piano, one can single out 19 Hungarian Rhapsodies, a cycle of 12 Transcendental Etudes and three cycles of small pieces called Years of Wanderings. Liszt also wrote more than 60 songs and romances for voice and piano and several organ works, including a fantasy and a fugue on the BACH theme.
Most of the composer's piano legacy is transcriptions and paraphrases of music by other authors. Liszt's transcriptions include piano transcriptions of Beethoven's symphonies and fragments from works by Bach, Bellini, Berlioz, Wagner, Verdi, Glinka, Gounod, Meyerbeer, Mendelssohn, Mozart, Paganini, Rossini, Saint-Saens, Chopin, Schubert, Schumann and others.
Liszt became the creator of the genre of one-movement semi-program symphonic form, which he called the symphonic poem. This genre was intended to express non-musical ideas or retell musical means works of literature and fine arts. The unity of the composition was achieved by the introduction of leitmotifs or leitmotifs, passing through the entire poem. Among Liszt's orchestral works (or pieces featuring an orchestra), the most interesting are the symphonic poems, especially the Preludes (1854), Orpheus (1854) and Ideals (1857).
For different formulations with the participation of soloists, choir and orchestra, Liszt composed several masses, psalms and the oratorio The Legend of Saint Elizabeth (1861). In addition, we can mention the Faust Symphony with a choral finale (1857) and the Symphony to Divine Comedy Dante with a female choir at the end (1867): both works draw heavily on the principles of the symphonic poems. Until now, Liszt's piano concertos are performed - in A major (1839, editions of 1849, 1853, 1857, 1861) in E-flat major (1849, editions of 1853, 1856). Liszt's only opera, the one-act Don Sancho, was written by a 14-year-old composer and staged at the same time (withstood five performances). opera score, for a long time considered lost, was discovered in 1903.
The chromatisms used by Liszt not only enriched the romantic style of the last century, but, more importantly, anticipated the crisis of traditional tonality in the 20th century. Liszt was an adherent of the idea of synthesis of all arts as the highest form of artistic expression.
In the 30s–40s of the 19th century, new ideas appeared in the culture of romanticism. musical genres: * one-movement program symphonic poem, * transcriptions, paraphrases, rhapsodies, for piano. The creator of these genres is the composer Franz Liszt (1811 - 1886). Founder of the Hungarian professional classical music. Liszt was: a composer, outstanding pianist, along with Chopin - best pianist Europe. Liszt, like Chopin, seriously enriched the technique of piano playing. For the development of piano technique, he created the cycle "Etudes of the highest performing skill". Gave most of his life solo concerts V different countries Europe. Derijer, propagandist of symphonic music of different styles and eras. Sheet musical critic, a musicologist, published a series of articles on composers, mostly on romantics. Teacher at the Weimar and Geneva Conservatories, welcomed young composers, popularizing music " mighty handful". One-movement program symphonic poem by Liszt. In this genre, Liszt compressed the features of the symphony into one. Each of the poems is written according to a certain literary work: "Hamlet", "Tasso", "Prometheus", "Ideals", "Orpheus", "What is heard on the mountain?", "Preludes", "Hungary", Mazepa - the main transmission of the general idea.
"Preludes" - poems by Lamartin, life - a prelude to death. Sonata form, in exposition main party the image of a person is presented, in the secondary - the theme of love, in the development - a scene of nature, in the reprise - a march to overcome all life's troubles, + a solemn GP and PP, with first PP, then GP - a mirror reprise.
Innovation: 1) overture - introduction - 3 notes, the impression is as if the instrument is being tuned, and from this the theme of man and love is born. The birth of different themes of melodies from the 1st and the same intonation is called monothematism. The genres of paraphrase and transcription are not new; they were found in Baroque music in the work of I.S. Bach. Transcription– a new reading of the created music, another author, piano version orchestral concerts while retaining the sounds of the original. The sheet does the same. A genre arose in the Baroque (Bach shifted from concert to home - “Arrangements”). Paraphrase- + an element of his own. Liszt takes his favorite pieces from operas => transferring parts of the opera to the piano, + introducing elements of development (he wrote off the quartet and varied Schubert's Serenade). Rhapsody - rapsod - folk wandering musician, folk motifs are used. Free fantasy on the people. Given Liszt's powerful orchestral style, his rhapsodies were arranged for the symphony orchestra.
19. Romantic instrumental miniatures.
(see Schumann)
20. Romantic vocal miniatures.
(see Schubert)
21. Musical heroes of F. Schubert's balad "The Fox Tsar".
See Schubert
22. "Preludes" by F. Liszt - the peculiarity of the genre.
(literature and painting, less often - philosophy or history; pictures of nature). A symphonic poem is characterized by the free development of musical material, combining various principles of shaping, most often sonata and monothematism with cyclicality and variation.
The emergence of the symphonic poem as a genre is associated primarily with the name of Franz Liszt, who created 12 works of this form in - years. Some researchers, however, point to the work of Cesar Franck related to the city “What is heard on the mountain” (fr. Ce qu "on entend sur la montagne ), based on a poem by Victor Hugo and preceding Liszt's on the same basis; Frank's poem, however, remained unfinished and unpublished, and the composer again turned to this genre much later. Liszt's immediate predecessor is Felix Mendelssohn, most notably his Hebrides Overture (-).
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 , P. I. Tchaikovsky, M. K. Chiurlionis, A. Schoenberg, E. Shosson, D. D. Shostakovich, R. Strauss, J. Enescu and others.
Other genres - symphony, concerto, poem, sonata - were also influenced by the symphonic poem.
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An excerpt characterizing the Symphonic Poem
By ten o'clock, twenty people had already been carried away from the battery; two guns were broken, more and more shells hit the battery and flew, buzzing and whistling, long-range bullets. But the people who were on the battery did not seem to notice this; cheerful conversation and jokes were heard from all sides.- Chinenko! - the soldier shouted at the approaching, whistling grenade. - Not here! To the infantry! - another added with a laugh, noticing that the grenade flew over and hit the ranks of the cover.
- What, friend? - laughed another soldier at the crouching peasant under the flying cannonball.
Several soldiers gathered at the rampart, looking at what was happening ahead.
“And they took off the chain, you see, they went back,” they said, pointing over the shaft.
“Look at your business,” the old non-commissioned officer shouted at them. - They went back, which means there is work back. - And the non-commissioned officer, taking one of the soldiers by the shoulder, pushed him with his knee. Laughter was heard.
- Roll on to the fifth gun! shouted from one side.
“Together, more amicably, in burlatski,” the cheerful cries of those who changed the gun were heard.
“Ay, I almost knocked off our master’s hat,” the red-faced joker laughed at Pierre, showing his teeth. “Oh, clumsy,” he added reproachfully to the ball that had fallen into the wheel and leg of a man.
- Well, you foxes! another laughed at the squirming militiamen who were entering the battery for the wounded.
- Al is not tasty porridge? Ah, crows, swayed! - they shouted at the militia, who hesitated in front of a soldier with a severed leg.
“Something like that, little one,” the peasants mimicked. - They don't like passion.
Pierre noticed how after each shot that hit, after each loss, a general revival flared up more and more.
As from an advancing thundercloud, more and more often, brighter and brighter flashed on the faces of all these people (as if in repulse to what was happening) lightning bolts of hidden, flaring fire.
Pierre did not look ahead on the battlefield and was not interested in knowing what was happening there: he was completely absorbed in contemplating this, more and more burning fire, which in the same way (he felt) flared up in his soul.
At ten o'clock the infantry soldiers, who were ahead of the battery in the bushes and along the Kamenka River, retreated. From the battery it was visible how they ran back past it, carrying the wounded on their guns. Some general with his retinue entered the mound and, after talking with the colonel, looking angrily at Pierre, went down again, ordering the infantry cover, which was standing behind the battery, to lie down so as to be less exposed to shots. Following this, in the ranks of the infantry, to the right of the battery, a drum was heard, shouts of command, and from the battery it was clear how the ranks of the infantry moved forward.
Pierre looked over the shaft. One face in particular caught his eye. It was an officer who, with a pale young face, was walking backwards, carrying a lowered sword, and looking around uneasily.
The ranks of infantry soldiers disappeared into the smoke, their long-drawn cry and frequent firing of guns were heard. A few minutes later, crowds of wounded and stretchers passed from there. Shells began to hit the battery even more often. Several people lay uncleaned. Near the cannons, the soldiers moved busier and more lively. No one paid any attention to Pierre anymore. Once or twice he was angrily shouted at for being on the road. The senior officer, with a frown on his face, moved with large, quick steps from one gun to another. The young officer, flushed even more, commanded the soldiers even more diligently. Soldiers fired, turned, loaded and did their job with intense panache. They bounced along the way, as if on springs.
Symphonic poem
(German symphonische Dichtung, French poime symphonique, English symphonic poem, Italian poema sinfonica) is a one-part software symphony. work. The genre of S. p. was fully developed in the work of F. Liszt. The name itself comes from him. "S. p." For the first time, Liszt gave it in 1854 with his Tasso overture, written back in 1849, after which he became known as. S. p. all their one-part program symphonies. essays. Name "S. p." indicates a connection in this kind of product. music and poetry - as in the sense of the implementation of the plot of one or another lit. compositions, and in the sense of the similarity of S. p. with the same name. genre of poetry. lawsuit. S. p. is the main. kind of symbol. program music. Works like S. p. sometimes get other names - symphonic fantasy, symphony. legends, ballads, etc. Close S. p., but possessing a specific. features of the variety of program music - overture and symphonic picture. Dr. the most important kind of symphony. program music is a program symphony, which is a cycle of 4 (and sometimes 5 or more) parts.
13 S. p. are written on a sheet. The most famous of them are Preludes (according to A. Lamartine, c. 1848, last edition 1854), Tasso (according to I. V. Goethe), Orpheus (1854), "Battle of the Huns" (based on the painting by W. Kaulbach, 1857), "Ideals" (based on F. Schiller, 1857), "Hamlet" (based on W. Shakespeare, 1858). In Lisztian S., items are freely combined decomp. structures, features decomp. instr. genres. Especially characteristic for them is the combination in one-part features of sonata allegro and sonata-symphony. cycle. Main part of the symbol poem usually consists of a number of diverse episodes, to-rye from the point of view of the sonata allegro correspond to Ch. part, side part and development, and from the point of view of the cycle - the first (fast), second (lyrical) and third (scherzo) movements. Finishes production. the return in a compressed and figuratively transformed form of the previous episodes, similar in their expressiveness, which corresponds to the reprise from the point of view of the sonata allegro, and to the finale from the point of view of the cycle. Compared to the usual sonata allegro, the episodes of S. p. are more independent and internally completed. The compressed return at the end of the same material proves to be a powerful form-fixing agent. In S. p., the contrast between episodes can be sharper than in sonata allegro, and there can be more than three episodes themselves. This gives the composer greater freedom to implement program ideas, display various. kinds of stories. In conjunction with this kind of "synthetic." structures List often applied the principle of monothematism - all DOS. themes in these cases turn out to be free variants of the same leading theme or thematic. education. The principle of monothematism provides complementary. fastening of the form, however, with succession. application can lead to intonation. impoverishment of the whole, since the transformation is primarily rhythmic. drawing, harmonization, texture of accompanying voices, but not intonation. theme outlines.
The prerequisites for the emergence of the genre of S. p. can be traced over many previous decades. Attempts to structurally combine the parts of the sonata-symphony. cycles were undertaken even before Liszt, although often they resorted to "external" methods of unification (for example, the introduction of connecting constructions between separate parts of the cycle or the transition of attaca from one part to the next). The very incentive for such a union is associated with the development of program music, with the disclosure in the production. single plot. Long before Liszt, sonatas and symphonies also appeared. cycles that had features of monothematism, for example. symphonies, os. the themes of all parts to-rykh revealed intonational, rhythmic. and so on. unity. One of the earliest examples of such a symphony was Beethoven's 5th symphony. The genre on the basis of which the formation of S. p. took place is the overture. Expansion of its scope, associated with program ideas, ext. thematic enrichment gradually turned the overture into a S. p. milestones on this path are many. overtures by F. Mendelssohn. It is significant that Liszt also created his early S. p. as overtures to c.-l. lit. prod., and initially they even bore the name. overtures ("Tasso", "Prometheus").
Following Liszt, other Western-Europe artists also turn to the genre of S. p. composers, representatives of various nat. schools. Among them - B. Smetana ("Richard III", 1858; "Camp Wallenstein", 1859; "Gekon Jarl", 1861; consisting of 6 S. p. cycle "My Motherland", 1874-70), K. Sen - Sane ("Omphala's Distaff", 1871; "Phaeton", 1873; "Dance of Death", 1874; "Youth of Hercules", 1877), S. Frank ("Zolides", 1876; "Genies", 1885; "Psyche" , 1886, with a choir), X. Wolf ("Pentesilea", 1883-85).
The most important stage the development of the genre of S. p. in Western Europe. the art is associated with the work of R. Strauss, the author of 7 S. p. The most significant of them are Don Juan (1888), Death and Enlightenment (1889), Til Ulenspiegel (1895), Thus Spoke Zarathustra "(1896), "Don Quixote" (1897). Next to art. S.'s signs and. have also his symphony. fantasies "From Italy" (1886), "Home Symphony" (1903) and "Alpine Symphony" (1915). Created by R. Strauss S. and. is distinguished by brightness, "showiness" of images, masterful use of the possibilities of the orchestra - both expressive and pictorial. R. Strauss does not always adhere to the typical structural scheme of Liszt's musical compositions. Thus, his Don Giovanni is based on the sonata allegro scheme; the subtitle of the work is called "symphonic variations on a theme of a knightly character").
After R. Strauss, representatives of other nat. schools. J. Sibelius created a number of S. p. but the motives of Nar. fin. epic "Kalevala" ("Saga", 1892; "Kullervo", 1892; the last - "Tapiola" refers to 1925). 5 S. p. was written in 1896 by A. Dvorak (Water, Noon, Golden Spinning Wheel, Dove, Heroic Song).
In the 20th century abroad, in addition to J. Sibelius, prod. Few composers created the genre of musical composition: B. Bartok (Kossuth, 1903), A. Schoenberg (Pelléas et Melisande, 1903), E. Elgar (Falstaff, 1913), and M. Reger (4 S. item based on the paintings of Böcklin, 1913), O. Respighi (trilogy: The Fountains of Rome, 1916; The Pines of Rome, 1924; Holidays of Rome, 1929). S. p. in Western Europe. music is internally modified; losing the features of the plot, it gradually approaches the symphonic. picture. Often, in this regard, composers give their program symphony. prod. more neutral names (prelude "Afternoon of a Faun", 1895, and 3 symphonic sketches "The Sea", 1903, Debussy; "symphonic movements" "Pacific 231", 1922, and "Rugby", 1928, Honegger, etc.) .
Rus. composers have created many works of the S. p. type, although they did not always use this term to define their genre. Among them are M. A. Balakirev (S. p. "Rus", 1887, in the 1st edition of 1862 called the overture "A Thousand Years"; "Tamara", 1882), P. I. Tchaikovsky (S. p. "Fatum", 1868; overture-fantasy "Romeo and Juliet", 1869, 3rd edition 1880; symphonic fantasy "Francesca da Rimini", 1870; (symphonic) fantasy "The Tempest", 1873; overture-fantasy "Hamlet", 1885; symphonic ballad "Voevoda", 1891), N. A. Rimsky-Korsakov ("Fairy Tale", 1880), A. K. Glazunov ("Stenka Razin", 1885), A. N. Scriabin ("Dreams", 1898; "Poem of Ecstasy", 1907; "Poem of Fire", or "Prometheus", with piano and chorus, 1910). Among the owls composers who turned to the genre of musical composition - A. I. Khachaturian (symphony-poem, 1947), K. Karaev ("Leyli and Majnun", 1947), A. A. Muravlev ("Azov-mountain", 1949 ), A. G. Svechnikov ("Shchors", 1949), G. G. Galynin ("Epic Poem", 1950), A. D. Gadzhiev ("For Peace", 1951), V. Mukhatov ("My Motherland ", 1951).
Literature: Popova T., Symphonic poem, M.-L., 1952, M., 1963; Wagner R., Ober Fr. Liszt "s Symphonische Dichtungen, Brief an M. Wittgenstein vom 17. Februar 1837, in the book: Wagner R., Gesammelte Schriften und Dichtungen, Bd 5, Lpz., 1898; Raabe P., Entstehungsgeschichte der ersten Orchesterwerke Fr. Liszts, Jena, 1916 (Diss.); Hcinrichs J., Bber den Sinn der Lisztschen Programmusik, Bonn, 1929 (Diss.); Bergfeld J., Die formale Struktur der symphonischen Dichtungen Fr. Liszts, Eisenach, 1931; Mendl R., Art of symphonic poem, "MQ", 1932, v. 18, No 3; Wachten E., Das Formproblem in der sinfonischen Dichtungen von R. Strauss, B., 1933 (Diss.); Chantavoine J., Le poème symphonique, P .. 1950; see also references under the articles Program music, Liszt F., Strauss G.
Music Encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .
See what "Symphonic poem" is in other dictionaries:
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An orchestral composition in which the constituent parts are in close and inextricable connection. S. the poem is written on the program, for which some poetic work is selected. The program also affects the form of this kind of S. work, not ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
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