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was copied, then tried out in rehearsals with the
Weimarian Court orchestra and further changes made in the light of practical experience. Many years later, Liszt reminisced how his compositional development hinged on hearing an orchestra perform his works: "I needed to hear them in order to get an idea of them." He added that it was much more for this reason, and not simply for securing a public for his own works, that he promoted them in Weimar and elsewhere. After many such stages of composition, rehearsal and revision, Liszt might reach a version where the musical form seemed balanced and he was satisfied. However, it was his habit to write modifications to already printed scores. From his perspective, his compositions remained "works in progress" as he continued to reshape, rework, or add and subtract material. In some instances, a composition could exist in four or five versions simultaneously.
137:, which brought changes to the early 19th-century lifestyles of the working masses. The lower and middle classes began to take an interest in the arts, which previously had been enjoyed mostly by the clergy and aristocracy. In the 1830s, concert halls were few, and orchestras served mainly in the production of operas—symphonic works were considered far lower in importance. However, the European music scene underwent a transformation in the 1840s. As the role of religion diminished, Salmi asserts, 19th-century culture remained a religious one and the attendance of the arts in historical or similarly impressive surroundings "may still have generated a rapture akin to experiencing the sacred." Schonberg, cultural historian Peter Cay and musicologist
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feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion
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they were prepared to deal with the challenges. Most orchestras of small towns at that time were not capable of meeting the demands of this music. Contemporary orchestras also faced another challenge when playing Liszt's symphonic poems for the first time. Liszt kept his works on manuscripts, distributing them to the orchestra on his tour. Some parts of the manuscripts were so heavily corrected that players found it difficult to decipher them, let alone play them well. The symphonic poems were considered such a financial risk that orchestral parts for many of them were not published until the 1880s.
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718:", about the mysterious relationship between "form" and "content" and about the historical links that bind the symphonic poem to the classical symphony.... The symphonic poems, Wagner assured his readers, were first and foremost music. Their importance for history ... lay in the fact that Liszt had discovered a way of creating his material from the potential essence of the other arts.... Wagner's central observations are so accurate ... that we can only assume that there had been a number of discussions between as to what exactly a "symphonic poem" really was.
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generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.
851:—are worth further listening. Musicologist Hugh MacDonald writes, "Unequal in scope and achievement though they are, they looked forward at times to more modern developments and sowed the seeds of a rich crop of music in the two succeeding generations." Speaking of the genre itself, MacDonald adds that, although the symphonic poem is related to opera in its aesthetics, it effectively supplanted opera and sung music by becoming "the most sophisticated development of programme music in the history of the genre." Liszt authority
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557:—which could be performed either individually or together. Liszt made a study of Raimondi's work but the Italian composer died before Liszt could meet him personally. While the minuet section was probably added to act as a musical bridge between the opening lament and final triumphal sections, it along with other modifications "rendered the 'Tasso Overture' an overture no longer". The piece became "far too long and developed" to be considered an overture and was redesignated a symphonic poem.
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reason that the symphonic poems do not follow them slavishly either." Hugh MacDonald concurs that Liszt "held an idealized view of the symphonic poem" as being evocative rather than representational. "He only rarely achieved in his symphonic poems the directness and subtle timing that narrative requires," MacDonald explains; he generally focused more on expressing poetic ideas by setting a mood or atmosphere, refraining on the whole from narrative description or pictorial realism.
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710:(sic) of Liszt on two pianos ... music of hell, and can't even be called music—toilet paper music! I finally vetoed Liszt on medical grounds and we purged ourselves with Brahms's G Major String Sextet." Wagner was more receptive; he agreed with the idea of the unity of the arts that Liszt espoused and wrote as much in his "Open Letter on Liszt's Symphonic Poems". Walker considers this letter seminal in the War of the Romantics:
80:; 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. At the same time, Liszt wanted to incorporate the abilities of program music to inspire listeners to imagine scenes, images, or moods. To capture these dramatic and evocative qualities while achieving the scale of an opening movement, he combined elements of
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ecstasy." The demands of concert life "reached exponential proportions" and "every public appearance led to demands for a dozen others." Liszt desired to compose music, such as large-scale orchestral works, but lacked the time to do so as a travelling virtuoso. In
September 1847, Liszt gave his last public recital as a paid artist and announced his retirement from the concert platform. He settled in
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Liszt may have actually mastered orchestration reasonably quickly. By 1853, he felt he no longer needed Raff's assistance and their professional association ended in 1856. Also, in 1854 Liszt received a specially designed instrument called a "piano-organ" from the firm of
Alexandre and fils in Paris. This huge instrument, a combination of
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piano sketches to orchestrate, just as he had done earlier with
Conradi—"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of
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Beethoven's.... The real question was not so much whether symphonies could still be written, but whether the genre could continue to flourish and grow as it had over the previous half-century in the hands of Haydn, Mozart and
Beethoven. On this count, there were varying degrees of skepticism but virtually no real optimism."
537:. In a margin note, Liszt informs the conductor that the orchestra "assumes a dual role" in this section; strings play a self-contained piece based on the original version of the gondolier's hymn while woodwinds play another based on the variation used in the minuet. This was very much in the manner of Italian composer
486:, where pieces of music generally wind to a close, are greatly enlarged to a size and scope that can affect the listener's concept of the themes. Themes shuffle into new and unexpected patterns of order, and three- or four-movement structures roll into one in a continual process of creative experimentation.
338:, a procedure established by Beethoven in which certain movements are not only linked but actually reflect one another's content. Liszt took Beethoven's practice one step further, combining separate movements into a single-movement cyclic structure. Many of Liszt's mature works follow this pattern, of which
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could be considered a musical seascape based on autobiographical experience but indistinguishable in musical intent from Liszt's symphonic poems. By titling the first of his Op. 10 Ballades as "Edward", Brahms nominated it as the musical counterpart of its old
Scottish saga and namesake. This was not
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Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous
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as early as 1830; however, his focus for the early part of his adult life was mostly on his performing career. By 1847, Liszt was famous throughout Europe as a virtuoso pianist. "Lisztomania" swept across Europe, the emotional charge of his recitals making them "more like séances than serious musical
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add that, while aristocrats still held private musical events, public concerts grew as institutions for the middle class, which was growing prosperous and could now afford to attend. As interest burgeoned, these concerts were performed at a rapidly increasing number of venues. Programs often ran over
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is hardly set on praise for me at the moment. I expect quite a hard downpour of rain when the symphonic poems appear." Joseph
Joachim, who in his time in Weimar had found Liszt's workshop rehearsals and the trial-and-error process practiced in them to be wearisome, was dismayed at what he considered
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Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought in Liszt's symphonic poems. We would not want to be without his prefaces, of course, nor any other that he made about the origins of his music; but we should not follow them slavishly, for the simple
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were widely experienced orchestral players who probably knew the different instrumental effects a string section could produce—knowledge that Liszt would have found invaluable, and about which he might have had many discussions with the two men. With such a range of talent from which to learn,
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Aware that the public appreciated instrumental music with context, Liszt provided written prefaces for nine of his 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
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In developing the symphonic poem, Liszt "satisfied three of the principal aspirations of 19th century music: to relate music to the world outside, to integrate multi-movement forms ... and to elevate instrumental programme music to a level higher than that of opera, the genre previously regarded as
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essentially concurs with MacDonald, writing that Liszt "wished to expound philosophical and humanistic ideas which were of the greatest importance to him." These ideas were not only connected with Liszt's personal problems as an artist, but they also coincided with explicit problems being addressed
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saw
Beethoven's innovations as a beginning in music, not an end. In this climate, Liszt had emerged as a lightning-rod for the avant-garde. Even with the innovative music being written by Wagner and Berlioz, it was Liszt, Walker says, "who was making all the noise and attracting the most attention"
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in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by
Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores
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While Raff was able to offer "practical suggestions which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff
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to fill the gaps in his knowledge and find his "orchestral voice". Raff, "a gifted composer with an imaginative grasp of the orchestra", offered close assistance to Liszt. Also helpful were the virtuosi present at that time in the
Weimarian Court orchestra, such as trombonist Moritz Nabich, harpist
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from 1850 to 1853—had realized Liszt's ideas and provided a score of an acceptable standard, Liszt would then make further revisions; he moved sections to form different structural relationships, and modified connective materials or composed them anew, completing the piece of music. The score
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Part of this creative experimentation was a trial-and-error approach. Liszt constructed compositions with varying sections of music not necessarily having distinct beginnings and ends. He sketched sections, sometimes without fully completing them, on a small number of staves with some indication of
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carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final
521:, is a perfect example of both Liszt's working method and his achievements based on restless experimentation. The 1849 version following a conventional overture layout, divided into a slow section ("Lament") and a fast one ("Triumph"). Even with this division, the entire work was actually a set of
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overtures is to inspire listeners to imagine scenes, images, or moods; Liszt intended to combine those programmatic qualities with a scale and musical complexity normally reserved for the opening movement of Classical symphonies. The opening movement, with its interplay of contrasting themes under
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These aspects of the symphonic poem demanded players to have superior caliber, perfect intonation, keen ears and knowledge of the roles of their orchestra members. The complexity of the symphonic poems may have been one reason that Liszt urged other conductors to "hold aloof" from the works until
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These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what
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Liszt desired to expand single-movement works beyond the concert overture form. As he himself said, "New wine demands new bottles," and as Alan Walker points out, the "language of music was changing; it seemed pointless to Liszt to contain it in forms that were almost 100 years old." The music of
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of the notes in accordance with the score. The quick fluctuations in the speed of the music were another factor in the symphonic poem's complexity. The constant use of chamber-music textures, which are produced by having single players perform extended solo passages or having small groups play
592:, was basically a one-piece orchestra that contained three keyboards, eight registers, a pedal board and a set of pipes that reproduced the sounds of all the wind instruments. With it, Liszt could try out various instrumental combinations at his leisure as a further aid for his orchestration.
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says, "Liszt was a natural phenomenon, and people were swayed by him.... With his mesmeric personality and long mane of flowing hair, he created a striking stage presence. And there were many witnesses to testify that his playing did indeed raise the mood of an audience to a level of mystical
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Until he coined the term "symphonic poem", Liszt introduced several of these new orchestral works as overtures; in fact, some of the poems were initially overtures or preludes for other works, only later being expanded or rewritten past the confines of the overture form. The first version of
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were perceived in their own time as standing in the symphonic shadow of Haydn, Mozart, Beethoven, or some combination of the three." While many composers continued to write symphonies during the 1820s and 30s, "there was a growing sense that these works were aesthetically far inferior to
348:, a type of variation in which one theme is changed, not into a related or subsidiary theme but into something new, separate and independent. Thematic transformation, like cyclic form, was nothing new in itself; it had already been used by Mozart and Haydn. In the final movement of his
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When Liszt started writing symphonic poems, "he had very little experience in handling an orchestra ... his knowledge of the technique of instrumentation was defective and he had as yet composed hardly anything for the orchestra." For these reasons he relied first on his assistants
389:, consider it the first of its genre, preceding Liszt's compositions. However, Franck did not publish or perform his piece; neither did he set about defining the genre. Liszt's determination to explore and promote the symphonic poem gained him recognition as the genre's inventor.
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should also be considered with the symphonic poems. The first, "Der nächtliche Zug", is closely descriptive of Faust as he watches a passing procession of pilgrims by night. The second, "Der Tanz in der Dorfschenke", which is also known as the First Mephisto Waltz, tells of
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in Berlin in 1859; after the performance, the conductor turned on the audience and ordered the demonstrators to leave, "as it is not customary to hiss in this hall." Matters improved somewhat in the following decades, thanks to the efforts of Liszt disciples such as BĂĽlow,
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and symphony in a modified sonata design. The composition of the symphonic poems proved daunting. They underwent a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a balance of musical form.
311:, was normally considered the most important part of the symphony. To achieve his objectives, he needed a more flexible method of developing musical themes than sonata form would allow, but one that would preserve the overall unity of a musical composition.
529:. The theme of the minuet was, again, a variant of the gondolier's folk hymn, thus becoming another example of thematic transformation. Calmer than either of the outer sections, it was intended to depict Tasso's more stable years in the employment of the
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usually opened or concluded concerts, and "while these works were revered as models of great music, they were ultimately less popular than the arias and scenes from operas and oratorios that stood prominently in the middle of these concerts."
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was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar
72:, 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
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Symphony, he not only redefined the genre but also called into question whether instrumental music could truly be superior to vocal music. The Ninth, Bonds says, in fact became the catalyst that fueled debate about the symphony genre.
358:, a work that had a tremendous influence on Liszt. However, Liszt perfected the creation of significantly longer formal structures solely through thematic transformation, not only in the symphonic poems but in other works such as his
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wrote to BĂĽlow. "Show them you that you understand no less the work of the older masters." BĂĽlow was incensed, not only for the requested change but that David had considered Liszt's work unworthy of being called a sonata (Walker,
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According 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
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the highest mode of musical expression." In fulfilling these needs, the symphonic poems played a major role, widening the scope and expressive power of the advanced music of its time. According to music historian
298:. "This triple alliance of court, theater and academia was difficult to resist." The town also received its first railway line in 1848, which gave Liszt relatively quick access from there to the rest of Germany.
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The audiences may have been challenged by the works' complexity, which have also caused problems for musicians. Written in new forms, the symphonic poems used unorthodox time signatures, producing an unusual
352:, Beethoven had transformed the theme of the "Ode to Joy" into a Turkish march. Weber and Berlioz had also transformed themes, and Schubert used thematic transformation to bind together the movements of his
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three hours, "even if the content was thin: two or more symphonies, two overtures, vocal and instrumental numbers, duets, a concerto." Roughly half of the presented music was vocal in nature. Symphonies by
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also achieved successes with their symphonies, putting at least a temporary stop to the debate as to whether the genre was dead. Regardless, composers increasingly turned to the "more compact form" of the
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Liszt's new works did not find guaranteed success in their audiences, especially in cities where listeners were accustomed to more conservative music programming. While Liszt had "a solid success" with
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were influenced by them, and adapted and developed the genre in their own way. For all their faults, these pieces offer many examples of the pioneering spirit for which Liszt is celebrated."
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on a single melody—a folk hymn sung to Liszt by a gondolier in Venice in the late 1830s. Among the most significant revisions Liszt made was the addition of a middle section in the vein of a
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ensemble passages, put a stress on the orchestra; the mistakes of the solo artist or small groups would not be "covered up" by the mass sound of the orchestra and were obvious to everyone.
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Symphonies, Beethoven had pushed the symphony well beyond the boundaries of entertainment into those of moral, political and philosophical statement. By adding text and voices in his
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of Mozart's or Haydn's symphonies, or many operatic arias of the time, the symphonic poem's advanced harmonies could produce harsh or awkward music. Due to its use of unusual
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Meanwhile, the future of the symphony genre was coming into doubt. Musicologist Mark Evan Bonds writes, "Even symphonies by well-known composers of the early 19th century as
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symphonies share the same aesthetic stance as the symphonic poems; though they are multi-movement works that employ a chorus, their compositional methods and aims are alike.
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Such was the controversy over these works that two points were overlooked by the critics. First, Liszt's own attitude toward program music was derived from Beethoven's
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are a series of 13 orchestral works, numbered S.95–107. The first 12 were composed between 1848 and 1858 (though some use material conceived earlier); the last,
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814:, the symphonic poem had many sharp and flat notes, more than a standard musical work. The greater number of notes posed a challenge to musicians, who have to
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and violinist Edmund Singer. " mixed daily with these musicians, and their discussions must have been filled with 'shop talk.'" Both Singer and cellist
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The hostility between these two groups was such that, when BĂĽlow was invited to Leipzig to give a piano recital in 1857, he was asked to drop Liszt's
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tragedy. Liszt first used the term "Symphonische Dichtung" (symphonic poem) in public at a concert in Weimar on 23 February 1854 to describe
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In chronological order from the beginning date of composition, the symphonic poems are as follows (the published numbering differs as shown):
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found even the term "Sinfonische Dichtung" contradictory and offensive; he wrote against them with vehemence after he had heard only one,
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49:—compositions written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature. They inspired the
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Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by
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Liszt composed his symphonic poems during a period of great debate among musicians in central Europe and Germany, known as the
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The crux of the issue, Bonds asserts, "was never really one of style ... but rather of generic conception." Between his
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at times. The irregular rhythm proved difficult to play and sounded erratic to listeners. Compared to the mellower
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two years later in Leipzig was almost stopped due to hissing from the audience. A similar incident occurred when
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The Altenburg, Liszt's residence in Weimar (1848–1861), where he wrote the first 12 of his symphonic poems.
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Weimar was a small town that held many attractions for Liszt. Two of Germany's greatest men of letters,
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events", and the reaction of many of his listeners could be characterized as hysterical. Musicologist
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Trevitt, John and Marie Fauquet, ed. Stanley Sadie, "Franck, CĂ©sar(-Auguste-Jean-Guillaume-Hubert)"
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French Masters of the Organ: Saint-Saëns, Franck, Widor, Vierne, Dupré, Langlais, Messiaen
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2551:, 2nd rev. ed. (New York: Dover, 1966). Library of Congress Catalog Card Number 66-27581.
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Liszt conducting. "I needed to hear ", he would write, "in order to get an idea of them."
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as they would under sonata form. Instead, they follow a loose episodic pattern, in which
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2523:(New York: Simon and Schuster, 1967). Library of Congress Catalog Card Number 67-19821.
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was the only composer "able to grapple successfully with Beethoven's legacy." However,
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2408:"Tasso: Lamento e Trionfo, symphonic poem for orchestra (4 versions), S. 96 (LW G2)"
1861:"Tasso: Lamento e Trionfo, symphonic poem for orchestra (4 versions), S. 96 (LW G2)"
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Liszt found his method through two compositional practices, which he used in his
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and the subsequent press coverage of these events. This was a consequence of the
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considered it unsurpassable. Liberals such as Liszt, Wagner and others of the
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Joachim Raff, who made claims about his role in Liszt's compositional process.
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through his musical compositions, polemic writings, conducting and teaching.
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Karl Klindworth, another Liszt follower who conducted the symphonic poems.
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from his program. "People have heard that you play the things of Liszt,"
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2939:
2798:
2407:
1860:
798:. Nevertheless, audiences at the time found the compositions puzzling.
659:
415:
was first performed in Weimar on 16 February 1854 as a prelude to
220:
714:
It is filled with penetrating observations about the true nature of "
688:
471:
462:
Particularly striking in his symphonic poems is Liszt's approach to
81:
77:
2392:
Schnitzler's Century: The Making of Middle-class Culture 1815-1914
3328:
807:
534:
21:
287:
was also nearby. Most importantly, the town's patroness was the
2602:
The New Grove Dictionary of Music and Musicians, Second Edition
2544:(New York: Taplinger Publishing Company, 1970). SBN 8008-2990-5
2456:
The New Grove Dictionary of Music and Musicians, Second Edition
2427:
The New Grove Dictionary of Music and Musicians, Second Edition
2377:
The New Grove Dictionary of Music and Musicians, Second Edition
1040:
595:
526:
265:
3541:
2710:
2528:
The New Grove Dictionary of Music and Musicians, First Edition
2442:
The New Grove Dictionary of Music and Musicians, First Edition
442:. Later he used the term "poèmes symphoniques" in a letter to
97:
than to many who would follow him in writing symphonic poems.
585:
420:
2560:(Cambridge and New York: Cambridge University Press, 2005).
2471:
Liszt's "Tasso" Sketchbook: Studies in Sources and Revisions
2540:
Searle, Humphrey, ed. Alan Walker, "The Orchestral Works",
729:, and he would have likely argued that his music, like the
663:
Leopold Damrosch helped popularize Liszt's symphonic poems.
616:
from piano sketches.'" Joachim also told Raff's biographer
545:
mastery was such that he had written three oratorios—
514:
344:
is one of the best-known examples. The second practice was
292:
687:
Aware of the potential for controversy, Liszt wrote, "The
93:
suggests that he may have been closer to his contemporary
737:
and Brahms had also written program music. Mendelssohn's
2394:(New York and London: W.W. Norton & Company, 2002).
765:
in 1855 when he conducted in Brunswick, the climate for
3254:
Fantasy on Themes from Mozart's Figaro and Don Giovanni
773:
that December in Berlin was cooler. His performance of
3500:
Franz Liszt International Piano Competition (Budapest)
2575:(Oxford and New York: Oxford University Press, 2002).
2571:
Spencer, Piers, ed. Alison Latham, "Symphonic poem ",
409:, performed for the Weimar Goethe Centenary Festival.
2480:(New Haven and London: Yale University Press, 1998).
2454:
MacDonald, Hugh, ed Stanley Sadie, "Symphonic Poem",
2440:
MacDonald, Hugh, ed Stanley Sadie, "Symphonic Poem",
2271:
2269:
2095:
2093:
2091:
2089:
89:
something literally. In this regard, Liszt authority
2617:
Symphonic Music: Its Evolution since the Renaissance
2526:
Searle, Humphrey, ed Stanley Sadie, "Liszt, Franz",
2509:(Cambridge, UK and Malden, MA: Polity Press, 2008).
2495:, ed. Ben Arnold (Westport: Greenwood Press, 2002).
2491:Saffle, Michael, "Orchestral Works", Chapter 10 in
864:, "Their historical importance is undeniable; both
2282:
2266:
2086:
120:, where many of Liszt's symphonic poems premiered.
118:Deutsches Nationaltheater and Staatskapelle Weimar
2405:
1858:
513:, based on the life of sixteenth-century Italian
254:, a Hungarian composer, had attempted to write a
3560:
2630:Walker, Alan, ed Stanley Sadie, "Liszt, Franz",
2473:, Ph. D. dissertation, New York University 1986.
2375:Bonds, Mark Evan, "Symphony: II. 19th century,"
745:the only time Brahms would write program music.
2681:The New Grove Dictionary of Music and Musicians
2632:The New Grove Dictionary of Music and Musicians
1788:
1786:
1784:
1782:
1780:
399:, Liszt stated, was an incidental overture for
369:Between 1845 and 1847, Belgian-French composer
301:
2679:Weber, William, ed. Stanley Sadie, "Concert,"
1500:
692:their lack of creativity. Vienna music critic
2726:
2619:(New York: Columbia University Press, 1952).
1980:
1978:
1314:
1312:
1310:
1308:
1294:
1292:
1290:
1288:
1286:
1284:
1282:
2363:Saffle, "Orchestral Works", 238, 273, 275fn.
1840:
1838:
1836:
1826:
1824:
1777:
498:the orchestration. After an assistant—
3495:International Franz Liszt Piano Competition
2346:
2344:
2342:
2328:
2326:
2324:
1766:
1764:
1762:
1441:
1439:
1437:
1435:
1433:
2733:
2719:
2676:, London, JM Dent, 1989, pp. 348–351.
1975:
1691:
1689:
1305:
1279:
1129:
1127:
1125:
1123:
1121:
1119:
1117:
1115:
1113:
133:, according to music critic and historian
68:Liszt's intent, according to musicologist
2706:International Music Score Library Project
2038:
1833:
1821:
1253:
2339:
2321:
2216:
2214:
2212:
2210:
2208:
2124:
2122:
2062:
2060:
2058:
2056:
2054:
2052:
2050:
2027:
2025:
2023:
2021:
2019:
1996:
1994:
1951:
1949:
1947:
1933:
1931:
1929:
1927:
1925:
1923:
1921:
1919:
1909:
1907:
1759:
1709:
1707:
1705:
1703:
1701:
1675:
1673:
1671:
1669:
1655:
1653:
1639:
1637:
1635:
1633:
1631:
1520:
1518:
1516:
1493:
1491:
1489:
1475:
1473:
1471:
1430:
1354:
1352:
879:
747:
658:
630:versions represents Liszt's intentions.
594:
488:
434:started out in 1858 as a prelude to the
313:
242:
104:
20:
2659:Volume 1: The Virtuoso Years, 1811–1847
2507:19th Century Europe: A Cultural History
1686:
1457:
1455:
1110:
633:
3561:
3518:University of Music Franz Liszt Weimar
3485:Liszthaus Raiding (Liszt's birthplace)
1891:
1854:
1852:
1850:
1408:
1338:
1336:
1334:
1332:
1330:
1328:
645:Princess Carolyne zu Sayn-Wittgenstein
457:
272:in 1842, to work on his compositions.
268:, where he had been made its honorary
2824:The Bells of the Strasbourg Cathedral
2714:
2683:, 2nd ed. (London: Macmillan, 2001).
2665:Volume 2: The Weimar Years, 1848–1861
2634:, 2nd ed. (London: Macmillan, 2001).
2295:
2205:
2119:
2047:
2016:
1991:
1944:
1916:
1904:
1698:
1666:
1650:
1628:
1513:
1486:
1468:
1349:
2604:(London: Macmillan, 2001), 29 vols.
2530:(London: Macmillan, 1980), 20 vols.
2458:(London: Macmillan, 2001), 29 vols.
2444:(London: Macmillan, 1980), 20 vols.
2429:(London: Macmillan, 2001), 29 vols.
1585:, 24:802, 804; Trevitt and Fauquet,
1452:
856:by writers and painters of the era.
2589:(New York: Alfred A. Knopf, 1997).
1847:
1325:
373:wrote an orchestral piece based on
13:
3107:Harmonies poétiques et religieuses
2542:Franz Liszt: The Man and His Music
14:
3580:
2695:
3540:
3531:
3530:
3064:Variation on a Waltz by Diabelli
2557:The Cambridge Companion to Liszt
2044:Searle, "Orchestral Works", 283.
1844:Searle, "Orchestral Works", 288.
1830:Searle, "Orchestral Works", 287.
1625:Searle, "Orchestral Works", 298.
1497:Searle, "Orchestral Works", 281.
1013:
875:
3304:Hans Bronsart von Schellendorff
2863:Ce qu'on entend sur la montagne
2740:
2369:
2357:
2308:
2253:
2240:
2227:
2192:
2179:
2170:
2157:
2144:
2135:
2106:
2073:
2007:
1962:
1878:
1808:
1799:
1746:
1733:
1720:
1619:
1610:
1601:
1592:
1575:
1566:
1557:
1544:
1531:
1417:
1395:
1378:
1365:
1266:
1240:
1227:
1065:
1032:Two Episodes from Lenau's Faust
1000:, after Shakespeare (1858–1861)
943:Ce qu'on entend sur la montagne
379:Ce qu'on entend sur la montagne
326:wrote the first symphonic poem.
3569:Symphonic poems by Franz Liszt
1913:Walker, Weimar, 316–317.
1210:
1201:
1188:
1175:
1166:
1153:
1140:
1097:
937:, after Lamartine (c1845–1854)
560:
1:
2648:(New York: Alfred A. Knopf).
2573:The Oxford Companion to Music
1091:
647:helped shape or create them.
468:development of musical themes
100:
3490:Franz Liszt Academy of Music
2587:Johannes Brahms: A Biography
991:, after Kaulbach (1857–1861)
982:, after Schiller (1857–1858)
654:
302:Inventing the symphonic poem
289:Grand Duchess Maria Pavlovna
43:From the Cradle to the Grave
16:Group of 13 orchestral works
7:
2379:(London: Macmillan, 2001).
2176:As quoted in Swafford, 307.
1046:
1006:Von der Wiege bis zum Grabe
622:E-flat-major Piano Concerto
575:Jeanne Pohl, concertmaster
39:Von der Wiege bis zum Grabe
10:
3585:
3045:Morceau de salon, Ab Irato
3039:Grandes Ă©tudes de Paganini
2406:Godfrey, Margaret (2009).
1859:Godfrey, Margaret (2009).
401:Johann Wolfgang von Goethe
318:According to musicologist
277:Johann Wolfgang von Goethe
33:of the Hungarian composer
3526:
3477:
3286:
3263:
3247:RĂ©miniscences de Don Juan
3238:
3023:
2983:
2949:
2852:
2815:
2790:
2757:
2748:
946:, after Hugo (1845?–1854)
928:, after Byron (1840–1854)
826:
417:Christoph Willibald Gluck
334:. The first practice was
231:A Midsummer Night's Dream
2870:Tasso: lamento e trionfo
2830:Slavimo slavno, Slaveni!
1058:
925:Tasso: lamento e trionfo
919:, after Hugo (1838–1854)
3439:Agnes Street-Klindworth
3187:Grand galop chromatique
3173:Bagatelle sans tonalité
1053:List of symphonic poems
364:Piano Sonata in B minor
346:thematic transformation
144:Wolfgang Amadeus Mozart
3125:Sarabande and Chaconne
2950:Other orchestral works
2519:Schonberg, Harold C.,
2469:Mueller, Rena Charin,
2141:Quoted in Walker, 337.
1598:Shulstad, 206–7.
888:
831:With the exception of
753:
720:
664:
600:
494:
327:
256:Revolutionary Symphony
248:
121:
26:
3429:William Hall Sherwood
3324:Élie-Miriam Delaborde
3032:Transcendental Études
1984:As quoted by Walker,
1384:As quoted in Walker,
1216:Cay, 229; Schonberg,
883:
751:
712:
662:
598:
492:
360:Second Piano Concerto
317:
246:
131:Industrial Revolution
108:
24:
3384:José Vianna da Motta
3379:Sebastian Bach Mills
3201:Hungarian Rhapsodies
3138:Dem Andenken Petőfis
3070:Années de pèlerinage
3051:Three Concert Études
3008:Piano Concerto No. 3
3003:Piano Concerto No. 2
2998:Piano Concerto No. 1
2751:List of compositions
2521:The Great Conductors
1073:B minor piano sonata
1043:at a village dance.
677:Leipzig Conservatory
669:War of the Romantics
634:Programmatic content
296:Nicholas I of Russia
152:Ludwig van Beethoven
3222:Rhapsodie espagnole
3215:Rondeau fantastique
3208:Glanes de Woronince
2984:Piano and orchestra
2493:The Liszt Companion
1695:Mueller, 329, 331f.
1427:, 24:814–815.
1388:(2000), 14:772 and
1237:, 24:834; Cay, 229.
675:and members of the
502:from 1848 to 1849,
458:Composition process
135:Harold C. Schonberg
3513:Lisztomania (song)
3152:La lugubre gondola
3058:Two Concert Études
2843:Les quatre élémens
2549:The Music of Liszt
2547:Searle, Humphrey,
2233:Quoted in Walker,
1554:, 323 footnote 37.
1414:Spencer, P., 1233.
889:
885:Die Hunnenschlacht
754:
665:
601:
495:
328:
285:University of Jena
281:Friedrich Schiller
249:
122:
27:
3554:
3553:
3424:Giovanni Sgambati
3239:Opera paraphrases
3120:Sonata in B minor
2992:Hungarian Fantasy
2515:978-0-7456-4359-5
2476:Murray, Michael,
735:Felix Mendelssohn
681:New German School
581:Bernhard Cossmann
425:Orfeo ed Euridice
213:Felix Mendelssohn
76:of the Classical
3576:
3544:
3534:
3533:
3464:JĂłzef Wieniawski
3434:Alexander Siloti
3334:Arthur Friedheim
3166:Mephisto Waltzes
3084:Feuilles d'album
2974:Mephisto Waltzes
2735:
2728:
2721:
2712:
2711:
2704:: Scores at the
2422:
2420:
2418:
2364:
2361:
2355:
2348:
2337:
2330:
2319:
2318:, 270–271.
2312:
2306:
2299:
2293:
2286:
2280:
2273:
2264:
2263:, 266–267.
2257:
2251:
2244:
2238:
2231:
2225:
2218:
2203:
2202:, 358–359.
2196:
2190:
2183:
2177:
2174:
2168:
2161:
2155:
2148:
2142:
2139:
2133:
2126:
2117:
2110:
2104:
2097:
2084:
2077:
2071:
2064:
2045:
2042:
2036:
2029:
2014:
2011:
2005:
1998:
1989:
1982:
1973:
1966:
1960:
1953:
1942:
1935:
1914:
1911:
1902:
1895:
1889:
1882:
1876:
1875:
1873:
1871:
1856:
1845:
1842:
1831:
1828:
1819:
1812:
1806:
1803:
1797:
1790:
1775:
1768:
1757:
1750:
1744:
1737:
1731:
1724:
1718:
1711:
1696:
1693:
1684:
1677:
1664:
1657:
1648:
1641:
1626:
1623:
1617:
1614:
1608:
1605:
1599:
1596:
1590:
1587:New Grove (2001)
1583:New Grove (2001)
1579:
1573:
1570:
1564:
1561:
1555:
1548:
1542:
1535:
1529:
1522:
1511:
1504:
1498:
1495:
1484:
1477:
1466:
1459:
1450:
1443:
1428:
1425:New Grove (2001)
1423:Larue and Wolf,
1421:
1415:
1412:
1406:
1399:
1393:
1382:
1376:
1369:
1363:
1356:
1347:
1340:
1323:
1320:New Grove (2001)
1316:
1303:
1300:New Grove (2001)
1296:
1277:
1274:New Grove (2001)
1270:
1264:
1261:New Grove (2001)
1257:
1251:
1244:
1238:
1235:New Grove (2001)
1231:
1225:
1214:
1208:
1205:
1199:
1192:
1186:
1179:
1173:
1170:
1164:
1163:, 301–302.
1157:
1151:
1144:
1138:
1131:
1108:
1101:
1085:
1069:
792:Leopold Damrosch
704:Theodor Billroth
355:Wanderer Fantasy
291:, the sister of
226:concert overture
116:in front of the
3584:
3583:
3579:
3578:
3577:
3575:
3574:
3573:
3559:
3558:
3555:
3550:
3522:
3473:
3414:Moriz Rosenthal
3389:Dionys Pruckner
3369:Heinrich Lutter
3354:Frederic Lamond
3339:Karl Klindworth
3319:Arthur De Greef
3282:
3259:
3234:
3159:Valse-Impromptu
3019:
2979:
2945:
2912:Héroïde funèbre
2854:Symphonic poems
2848:
2811:
2786:
2753:
2744:
2739:
2702:Symphonic Poems
2698:
2672:Watson, Derek,
2615:Ulrich, Homer,
2585:Swafford, Jan,
2416:
2414:
2372:
2367:
2362:
2358:
2349:
2340:
2336:(1980), 18:428.
2331:
2322:
2313:
2309:
2300:
2296:
2287:
2283:
2274:
2267:
2258:
2254:
2245:
2241:
2232:
2228:
2219:
2206:
2197:
2193:
2184:
2180:
2175:
2171:
2162:
2158:
2149:
2145:
2140:
2136:
2127:
2120:
2111:
2107:
2098:
2087:
2078:
2074:
2065:
2048:
2043:
2039:
2030:
2017:
2012:
2008:
1999:
1992:
1983:
1976:
1967:
1963:
1954:
1945:
1936:
1917:
1912:
1905:
1896:
1892:
1883:
1879:
1869:
1867:
1857:
1848:
1843:
1834:
1829:
1822:
1813:
1809:
1804:
1800:
1796:(2001), 14:772.
1791:
1778:
1769:
1760:
1751:
1747:
1738:
1734:
1725:
1721:
1712:
1699:
1694:
1687:
1678:
1667:
1658:
1651:
1642:
1629:
1624:
1620:
1615:
1611:
1606:
1602:
1597:
1593:
1580:
1576:
1571:
1567:
1562:
1558:
1549:
1545:
1536:
1532:
1523:
1514:
1510:(1980), 19:117.
1505:
1501:
1496:
1487:
1478:
1469:
1460:
1453:
1444:
1431:
1422:
1418:
1413:
1409:
1405:(2000), 14:772.
1400:
1396:
1383:
1379:
1370:
1366:
1357:
1350:
1341:
1326:
1317:
1306:
1297:
1280:
1271:
1267:
1258:
1254:
1245:
1241:
1232:
1228:
1215:
1211:
1206:
1202:
1193:
1189:
1180:
1176:
1171:
1167:
1158:
1154:
1145:
1141:
1137:(1980), 18:429.
1132:
1111:
1102:
1098:
1094:
1089:
1088:
1077:Ferdinand David
1070:
1066:
1061:
1049:
1016:
898:Héroïde funèbre
878:
870:Richard Strauss
853:Humphrey Searle
829:
796:Karl Klindworth
716:programme music
708:Symphonic Poems
694:Eduard Hanslick
673:Johannes Brahms
657:
636:
563:
539:Pietro Raimondi
480:Recapitulations
460:
332:symphonic poems
304:
217:Robert Schumann
103:
91:Humphrey Searle
63:Richard Strauss
55:Bedřich Smetana
51:symphonic poems
31:symphonic poems
17:
12:
11:
5:
3582:
3572:
3571:
3552:
3551:
3549:
3548:
3538:
3527:
3524:
3523:
3521:
3520:
3515:
3510:
3502:
3497:
3492:
3487:
3481:
3479:
3475:
3474:
3472:
3471:
3466:
3461:
3459:Bettina Walker
3456:
3454:Anton Urspruch
3451:
3446:
3441:
3436:
3431:
3426:
3421:
3419:Emil von Sauer
3416:
3411:
3406:
3404:Martha Remmert
3401:
3396:
3394:Laura Rappoldi
3391:
3386:
3381:
3376:
3371:
3366:
3361:
3359:Georg Liebling
3356:
3351:
3346:
3341:
3336:
3331:
3326:
3321:
3316:
3314:Eugen d'Albert
3311:
3309:Hans von BĂĽlow
3306:
3301:
3299:Arthur H. Bird
3296:
3290:
3288:
3284:
3283:
3281:
3280:
3274:
3267:
3265:
3261:
3260:
3258:
3257:
3250:
3242:
3240:
3236:
3235:
3233:
3232:
3225:
3218:
3211:
3204:
3197:
3190:
3183:
3180:Mephisto Polka
3176:
3169:
3162:
3155:
3148:
3141:
3134:
3131:Weihnachtsbaum
3127:
3122:
3117:
3110:
3103:
3096:
3091:
3086:
3081:
3073:
3066:
3061:
3054:
3047:
3042:
3035:
3027:
3025:
3021:
3020:
3018:
3017:
3010:
3005:
3000:
2995:
2987:
2985:
2981:
2980:
2978:
2977:
2970:
2962:
2953:
2951:
2947:
2946:
2944:
2943:
2936:
2933:Hunnenschlacht
2929:
2922:
2915:
2908:
2901:
2894:
2887:
2880:
2873:
2866:
2858:
2856:
2850:
2849:
2847:
2846:
2839:
2832:
2827:
2819:
2817:
2813:
2812:
2810:
2809:
2802:
2794:
2792:
2788:
2787:
2785:
2784:
2779:
2778:
2777:
2775:Transcriptions
2772:
2761:
2759:
2755:
2754:
2749:
2746:
2745:
2738:
2737:
2730:
2723:
2715:
2709:
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2697:
2696:External links
2694:
2693:
2692:
2677:
2670:
2669:
2668:
2662:
2644:Walker, Alan,
2642:
2628:
2613:
2598:
2583:
2569:
2552:
2545:
2538:
2524:
2517:
2505:Salmi, Hannu,
2503:
2489:
2474:
2467:
2452:
2438:
2423:
2403:
2400:0-393-0-4893-4
2388:
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2156:
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2134:
2118:
2105:
2085:
2072:
2046:
2037:
2015:
2013:Shulstad, 214.
2006:
1990:
1974:
1961:
1943:
1915:
1903:
1901:(1980), 11:42.
1890:
1877:
1846:
1832:
1820:
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1776:
1758:
1745:
1732:
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1627:
1618:
1616:Shulstad, 208.
1609:
1607:Shulstad, 207.
1600:
1591:
1574:
1565:
1556:
1543:
1541:, 60–61.
1530:
1512:
1499:
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1449:(1980), 11:41.
1429:
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1037:Mephistopheles
1015:
1012:
1011:
1010:
1001:
992:
988:Hunnenschlacht
983:
974:
965:
956:
947:
938:
929:
920:
911:
902:
877:
874:
828:
825:
816:vary the pitch
812:key signatures
779:Hans von BĂĽlow
656:
653:
635:
632:
577:Joseph Joachim
568:August Conradi
562:
559:
519:Torquato Tasso
500:August Conradi
476:Richard Wagner
459:
456:
444:Hans von BĂĽlow
406:Torquato Tasso
403:'s 1790 drama
387:Julien Tiersot
350:Ninth Symphony
303:
300:
270:music director
209:Hector Berlioz
102:
99:
95:Hector Berlioz
70:Hugh MacDonald
59:AntonĂn Dvořák
15:
9:
6:
4:
3:
2:
3581:
3570:
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3476:
3470:
3467:
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3457:
3455:
3452:
3450:
3449:István Thomán
3447:
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3440:
3437:
3435:
3432:
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3427:
3425:
3422:
3420:
3417:
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3412:
3410:
3407:
3405:
3402:
3400:
3399:Carl Reinecke
3397:
3395:
3392:
3390:
3387:
3385:
3382:
3380:
3377:
3375:
3374:Sophie Menter
3372:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3349:Carl Lachmund
3347:
3345:
3344:Martin Krause
3342:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3320:
3317:
3315:
3312:
3310:
3307:
3305:
3302:
3300:
3297:
3295:
3294:Carl Baermann
3292:
3291:
3289:
3285:
3278:
3277:Cosima Wagner
3275:
3272:
3269:
3268:
3266:
3262:
3256:
3255:
3251:
3249:
3248:
3244:
3243:
3241:
3237:
3231:
3230:
3226:
3224:
3223:
3219:
3216:
3212:
3210:
3209:
3205:
3203:
3202:
3198:
3196:
3195:
3191:
3188:
3184:
3181:
3177:
3174:
3170:
3168:
3167:
3163:
3160:
3156:
3153:
3149:
3146:
3142:
3139:
3135:
3133:
3132:
3128:
3126:
3123:
3121:
3118:
3116:
3115:
3114:Deux légendes
3111:
3109:
3108:
3104:
3102:
3101:
3097:
3095:
3094:Ballade No. 2
3092:
3090:
3089:Ballade No. 1
3087:
3085:
3082:
3080:
3078:
3074:
3072:
3071:
3067:
3065:
3062:
3060:
3059:
3055:
3053:
3052:
3048:
3046:
3043:
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3036:
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3033:
3029:
3028:
3026:
3022:
3016:
3015:
3011:
3009:
3006:
3004:
3001:
2999:
2996:
2994:
2993:
2989:
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2982:
2976:
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2807:
2803:
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2800:
2796:
2795:
2793:
2789:
2783:
2780:
2776:
2773:
2771:
2768:
2767:
2766:
2765:Musical works
2763:
2762:
2760:
2756:
2752:
2747:
2743:
2736:
2731:
2729:
2724:
2722:
2717:
2716:
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2700:
2699:
2690:
2689:0-333-60800-3
2686:
2682:
2678:
2675:
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2666:
2663:
2660:
2657:
2656:
2655:
2654:0-394-52540-X
2651:
2647:
2643:
2641:
2640:0-333-60800-3
2637:
2633:
2629:
2626:
2625:0-231-01908-4
2622:
2618:
2614:
2611:
2610:0-333-60800-3
2607:
2603:
2599:
2596:
2595:0-679-42261-7
2592:
2588:
2584:
2582:
2581:0-19-866212-2
2578:
2574:
2570:
2567:
2566:0-521-64462-3
2563:
2559:
2558:
2553:
2550:
2546:
2543:
2539:
2537:
2536:0-333-23111-2
2533:
2529:
2525:
2522:
2518:
2516:
2512:
2508:
2504:
2502:
2501:0-313-30689-3
2498:
2494:
2490:
2487:
2486:0-300-07291-0
2483:
2479:
2475:
2472:
2468:
2465:
2464:0-333-60800-3
2461:
2457:
2453:
2451:
2450:0-333-23111-2
2447:
2443:
2439:
2436:
2435:0-333-60800-3
2432:
2428:
2424:
2413:
2409:
2404:
2401:
2397:
2393:
2389:
2386:
2385:0-333-60800-3
2382:
2378:
2374:
2373:
2360:
2353:
2347:
2345:
2343:
2335:
2329:
2327:
2325:
2317:
2311:
2304:
2298:
2291:
2285:
2278:
2272:
2270:
2262:
2256:
2249:
2243:
2236:
2230:
2223:
2217:
2215:
2213:
2211:
2209:
2201:
2195:
2188:
2182:
2173:
2166:
2160:
2153:
2147:
2138:
2131:
2125:
2123:
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2109:
2102:
2096:
2094:
2092:
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2063:
2061:
2059:
2057:
2055:
2053:
2051:
2041:
2034:
2028:
2026:
2024:
2022:
2020:
2010:
2003:
1997:
1995:
1987:
1981:
1979:
1971:
1965:
1958:
1952:
1950:
1948:
1940:
1934:
1932:
1930:
1928:
1926:
1924:
1922:
1920:
1910:
1908:
1900:
1894:
1887:
1881:
1866:
1862:
1855:
1853:
1851:
1841:
1839:
1837:
1827:
1825:
1817:
1811:
1805:Mueller, 329.
1802:
1795:
1789:
1787:
1785:
1783:
1781:
1773:
1767:
1765:
1763:
1755:
1749:
1743:, 68–9.
1742:
1736:
1729:
1723:
1716:
1710:
1708:
1706:
1704:
1702:
1692:
1690:
1682:
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1672:
1670:
1662:
1656:
1654:
1646:
1640:
1638:
1636:
1634:
1632:
1622:
1613:
1604:
1595:
1589:, 9:178, 182.
1588:
1584:
1578:
1569:
1560:
1553:
1547:
1540:
1534:
1527:
1521:
1519:
1517:
1509:
1503:
1494:
1492:
1490:
1482:
1476:
1474:
1472:
1464:
1458:
1456:
1448:
1442:
1440:
1438:
1436:
1434:
1426:
1420:
1411:
1404:
1398:
1391:
1387:
1381:
1374:
1368:
1361:
1355:
1353:
1345:
1339:
1337:
1335:
1333:
1331:
1329:
1321:
1315:
1313:
1311:
1309:
1301:
1295:
1293:
1291:
1289:
1287:
1285:
1283:
1275:
1269:
1262:
1256:
1249:
1243:
1236:
1230:
1223:
1219:
1213:
1204:
1197:
1191:
1184:
1178:
1169:
1162:
1156:
1149:
1143:
1136:
1130:
1128:
1126:
1124:
1122:
1120:
1118:
1116:
1114:
1106:
1100:
1096:
1083:
1078:
1074:
1068:
1064:
1054:
1051:
1050:
1044:
1042:
1038:
1033:
1029:
1028:
1023:
1022:
1014:Related works
1008:
1007:
1002:
999:
998:
993:
990:
989:
984:
981:
980:
975:
972:
971:
966:
963:
962:
957:
954:
953:
948:
945:
944:
939:
936:
935:
930:
927:
926:
921:
918:
917:
912:
909:
908:
903:
900:
899:
894:
893:
892:
886:
882:
876:List of works
873:
871:
867:
863:
857:
854:
850:
849:
844:
840:
839:
834:
824:
820:
817:
813:
809:
805:
799:
797:
793:
789:
784:
780:
776:
772:
768:
764:
760:
750:
746:
743:
741:
736:
732:
728:
726:
719:
717:
711:
709:
705:
701:
700:
695:
690:
685:
682:
678:
674:
670:
661:
652:
648:
646:
640:
631:
628:
623:
619:
618:Andreas Moser
614:
609:
607:
597:
593:
591:
587:
582:
578:
573:
569:
558:
556:
552:
548:
544:
540:
536:
532:
528:
524:
520:
516:
512:
508:
505:
501:
491:
487:
485:
481:
477:
473:
469:
465:
455:
453:
449:
445:
441:
437:
436:Shakespearean
433:
432:
427:
426:
422:
418:
414:
413:
408:
407:
402:
398:
397:
390:
388:
384:
383:Norman Demuth
380:
376:
372:
367:
365:
361:
357:
356:
351:
347:
343:
342:
337:
333:
325:
321:
320:Norman Demuth
316:
312:
310:
299:
297:
294:
290:
286:
282:
278:
273:
271:
267:
262:
257:
253:
245:
241:
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238:
233:
232:
227:
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218:
214:
210:
205:
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197:
192:
189:
185:
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177:
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156:
153:
149:
145:
140:
136:
132:
128:
119:
115:
111:
107:
98:
96:
92:
86:
83:
79:
75:
71:
66:
64:
60:
56:
52:
48:
47:program music
44:
40:
36:
32:
23:
19:
3556:
3505:
3409:Eduard Reuss
3364:Max Liebling
3252:
3245:
3229:Liebesträume
3227:
3220:
3206:
3199:
3192:
3164:
3129:
3112:
3105:
3100:Consolations
3098:
3076:
3068:
3056:
3049:
3037:
3030:
3012:
2990:
2972:
2965:
2957:
2938:
2931:
2924:
2917:
2910:
2903:
2896:
2889:
2882:
2877:Les préludes
2875:
2868:
2861:
2853:
2841:
2834:
2822:
2816:Choral works
2804:
2797:
2680:
2673:
2664:
2658:
2645:
2631:
2616:
2601:
2586:
2572:
2568:(paperback).
2555:
2548:
2541:
2527:
2520:
2506:
2492:
2477:
2470:
2455:
2441:
2426:
2415:. Retrieved
2412:allmusic.com
2411:
2391:
2390:Cay, Peter,
2376:
2370:Bibliography
2359:
2351:
2333:
2315:
2310:
2302:
2297:
2289:
2284:
2276:
2260:
2255:
2247:
2242:
2234:
2229:
2221:
2199:
2194:
2186:
2181:
2172:
2164:
2159:
2151:
2146:
2137:
2129:
2113:
2108:
2100:
2080:
2075:
2067:
2040:
2032:
2009:
2001:
1985:
1969:
1964:
1956:
1938:
1898:
1893:
1885:
1880:
1868:. Retrieved
1865:allmusic.com
1864:
1815:
1810:
1801:
1793:
1771:
1753:
1748:
1740:
1735:
1727:
1722:
1714:
1680:
1660:
1644:
1621:
1612:
1603:
1594:
1586:
1582:
1577:
1572:Murray, 214.
1568:
1563:Ulrich, 228.
1559:
1551:
1546:
1538:
1533:
1525:
1507:
1502:
1480:
1462:
1446:
1424:
1419:
1410:
1402:
1397:
1389:
1385:
1380:
1372:
1367:
1359:
1343:
1319:
1299:
1273:
1268:
1260:
1255:
1247:
1242:
1234:
1229:
1221:
1217:
1212:
1203:
1195:
1190:
1182:
1177:
1168:
1160:
1155:
1147:
1142:
1134:
1104:
1099:
1081:
1067:
1031:
1025:
1019:
1017:
1004:
995:
986:
977:
968:
959:
950:
941:
934:Les préludes
932:
923:
914:
905:
896:
890:
884:
858:
846:
842:
836:
833:Les préludes
832:
830:
821:
800:
782:
774:
770:
767:Les Préludes
766:
762:
758:
755:
740:The Hebrides
739:
730:
724:
721:
713:
707:
699:Les préludes
697:
686:
666:
649:
641:
637:
612:
610:
605:
602:
572:Joachim Raff
564:
554:
550:
546:
543:contrapuntal
510:
509:
504:Joachim Raff
496:
464:musical form
461:
451:
448:Les préludes
447:
446:to describe
440:Les préludes
439:
429:
428:. Likewise,
423:
410:
404:
394:
391:
378:
371:CĂ©sar Franck
368:
353:
341:Les préludes
339:
329:
324:CĂ©sar Franck
322:and others,
305:
274:
255:
250:
237:The Hebrides
235:
229:
193:
157:
148:Joseph Haydn
123:
87:
67:
65:and others.
42:
38:
30:
28:
18:
3508:(1975 film)
3506:Lisztomania
3444:Karl Tausig
3145:Nuages gris
2806:Sardanapalo
2782:Lisztomania
2742:Franz Liszt
2646:Franz Liszt
2332:MacDonald,
2116:, 348, 357.
1888:, 317, 319.
1756:, 199, 203.
1581:MacDonald,
1506:MacDonald,
1246:Schonberg,
1196:Conductiors
1194:Schonberg,
1181:Schonberg,
1133:MacDonald,
1009:(1881–1883)
964:(1853–1854)
955:(1850–1855)
910:(1830–1857)
901:(1830–1856)
862:Alan Walker
788:Karl Tausig
627:Peter Raabe
561:Raff's role
375:Victor Hugo
336:cyclic form
309:sonata form
261:Alan Walker
252:Franz Liszt
234:(1826) and
139:Alan Walker
35:Franz Liszt
25:Franz Liszt
3469:GĂ©za Zichy
3279:(daughter)
3271:Adam Liszt
3024:Solo piano
2940:Die Ideale
2905:Festklänge
2891:Prometheus
2836:Via crucis
2799:Don Sanche
2770:Late works
1248:Conductors
1218:Conductors
1207:Salmi, 54.
1183:Conductors
1172:Salmi, 50.
1148:Orchestral
1092:References
1039:seizing a
979:Die Ideale
961:Festklänge
952:Prometheus
838:Prometheus
783:Die Ideale
781:conducted
759:Prometheus
702:. Surgeon
620:that "the
606:Prometheus
533:family in
523:variations
221:Niels Gade
101:Background
3014:Totentanz
2334:New Grove
2224:, 359–60.
1899:New Grove
1794:New Grove
1508:New Grove
1447:New Grove
1403:New Grove
1386:New Grove
1322:, 24:838.
1302:, 24:837.
1276:, 24:836.
1135:New Grove
808:harmonies
689:barometer
655:Reception
613:Die Musik
188:Moscheles
168:Cherubini
3563:Category
3536:Category
3273:(father)
2968:Symphony
2960:Symphony
2919:Hungaria
2350:Searle,
2314:Walker,
2301:Walker,
2288:Walker,
2275:Walker,
2259:Walker,
2246:Walker,
2220:Walker,
2198:Walker,
2185:Walker,
2163:Walker,
2150:Walker,
2128:Walker,
2112:Walker,
2099:Walker,
2083:, 306-7.
2079:Walker,
2066:Walker,
2031:Walker,
2000:Walker,
1968:Walker,
1955:Walker,
1937:Walker,
1897:Searle,
1884:Walker,
1816:Virtuoso
1814:Walker,
1792:Walker,
1770:Searle,
1752:Walker,
1739:Searle,
1726:Searle,
1713:Walker,
1679:Walker,
1659:Walker,
1643:Walker,
1550:Walker,
1537:Searle,
1524:Walker,
1479:Walker,
1461:Searle,
1445:Searle,
1401:Walker,
1373:Virtuoso
1371:Walker,
1360:Virtuoso
1358:Walker,
1342:Walker,
1263:, 6:227.
1159:Walker,
1146:Searle,
1103:Searle,
1047:See also
1018:Liszt's
907:Hungaria
866:Sibelius
742:Overture
731:Pastoral
727:Symphony
725:Pastoral
551:Potiphar
541:, whose
377:'s poem
362:and his
240:(1830).
180:Clementi
114:Schiller
82:overture
78:symphony
74:movement
3478:Related
3329:Amy Fay
3194:Csárdás
2898:Mazeppa
2884:Orpheus
1318:Bonds,
1298:Bonds,
1272:Bonds,
1259:Weber,
1233:Bonds,
1222:Weimar,
1084:, 348).
1003:No. 13
994:No. 10
985:No. 11
976:No. 12
970:Orpheus
916:Mazeppa
848:Orpheus
775:Mazeppa
763:Orpheus
535:Ferrara
452:Orpheus
412:Orpheus
200:Seventh
164:Rossini
127:Leipzig
3287:Pupils
3264:Family
3079:Sonata
2926:Hamlet
2791:Operas
2687:
2667:(1989)
2661:(1983)
2652:
2638:
2623:
2608:
2593:
2579:
2564:
2534:
2513:
2499:
2484:
2462:
2448:
2433:
2417:31 May
2398:
2383:
2316:Weimar
2305:, 270.
2303:Weimar
2292:, 301.
2290:Weimar
2279:, 297.
2277:Weimar
2261:Weimar
2250:, 265.
2248:Weimar
2237:, 359.
2235:Weimar
2222:Weimar
2200:Weimar
2189:, 358.
2187:Weimar
2167:, 363.
2165:Weimar
2154:, 346.
2152:Weimar
2132:, 336.
2130:Weimar
2114:Weimar
2103:, 296.
2101:Weimar
2081:Weimar
2070:, 307.
2068:Weimar
2035:, 306.
2033:Weimar
2004:, 205.
2002:Weimar
1988:, 203.
1986:Weimar
1970:Weimar
1959:, 202.
1957:Weimar
1941:, 203.
1939:Weimar
1886:Weimar
1870:31 May
1818:, 306.
1754:Weimar
1717:, 199.
1715:Weimar
1683:, 309.
1681:Weimar
1663:, 308.
1661:Weimar
1647:, 304.
1645:Weimar
1552:Weimar
1528:, 310.
1526:Weimar
1483:, 357.
1481:Weimar
1392:, 309.
1390:Weimar
1375:, 442.
1362:, 289.
1344:Weimar
1161:Weimar
1150:, 283.
1107:, 161.
1082:Weimar
1041:violin
997:Hamlet
973:(1854)
967:No. 4
958:No. 7
949:No. 5
940:No. 1
931:No. 3
922:No. 2
913:No. 6
904:No. 9
895:No. 8
843:Hamlet
827:Legacy
547:Joseph
527:minuet
472:motifs
431:Hamlet
266:Weimar
176:Czerny
172:HĂ©rold
110:Goethe
3546:Audio
3077:Dante
2966:Dante
2958:Faust
2758:Music
2674:Liszt
2354:, 77.
2352:Music
1972:, 77.
1774:, 69.
1772:Music
1741:Music
1730:, 68.
1728:Music
1539:Music
1465:, 61.
1463:Works
1250:, 70.
1198:, 68.
1185:, 68.
1105:Music
1059:Notes
1027:Dante
1021:Faust
771:Tasso
590:organ
586:piano
555:Jacob
511:Tasso
484:codas
421:opera
396:Tasso
204:Ninth
196:Third
184:Weber
160:MĂ©hul
2685:ISBN
2650:ISBN
2636:ISBN
2621:ISBN
2606:ISBN
2591:ISBN
2577:ISBN
2562:ISBN
2532:ISBN
2511:ISBN
2497:ISBN
2482:ISBN
2460:ISBN
2446:ISBN
2431:ISBN
2419:2009
2396:ISBN
2381:ISBN
1872:2009
1346:, 6.
1224:306.
1024:and
868:and
845:and
804:beat
794:and
769:and
761:and
588:and
570:and
553:and
531:Este
515:poet
450:and
385:and
293:Tsar
279:and
219:and
198:and
186:and
112:and
29:The
419:'s
150:or
53:of
3565::
2410:.
2341:^
2323:^
2268:^
2207:^
2121:^
2088:^
2049:^
2018:^
1993:^
1977:^
1946:^
1918:^
1906:^
1863:.
1849:^
1835:^
1823:^
1779:^
1761:^
1700:^
1688:^
1668:^
1652:^
1630:^
1515:^
1488:^
1470:^
1454:^
1432:^
1351:^
1327:^
1307:^
1281:^
1112:^
841:,
790:,
549:,
517:,
478:.
454:.
215:,
182:,
178:,
174:,
170:,
166:,
162:,
146:,
61:,
57:,
3217:"
3213:"
3189:"
3185:"
3182:"
3178:"
3175:"
3171:"
3161:"
3157:"
3154:"
3150:"
3147:"
3143:"
3140:"
3136:"
2734:e
2727:t
2720:v
2691:.
2627:.
2612:.
2597:.
2488:.
2466:.
2437:.
2421:.
2402:.
2387:.
1874:.
41:(
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