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Symphony in Yellow: song 1912 Griffes wrote a setting of this in c. 1912, as No. 2 of his Tone-Images, Op. 3 (No. 1 was also a Wilde setting, La Fuite de la Lune; and No. 3 was a poem by W. E. Henley). [3]
Charles Tomlinson Griffes (US: / ˈ ɡ r ɪ f ə s / GRIFF-fiss; September 17, 1884 – April 8, 1920) was an American composer for piano, chamber ensembles and voice.His initial works are influenced by German Romanticism, but after he relinquished the German style, [2] his later works make him the most famous American representative of musical Impressionism, along with Charles Martin Loeffler.
Abendlied unterm gestirntem Himmel (Evening song under the starry heaven), WoO 150, is a song for high voice and piano by Ludwig van Beethoven composed in 1820. The work is a setting of a poem believed to be by Otto Heinrich von Loeben, who wrote it under the pseudonym H. Goeble.
Liszt is considered the inventor of the symphonic poem and his programmatic orchestral works set the framework for several composers of the romantic era. He composed a total of thirteen symphonic poems as well as two programmatic symphonies, drawing his inspiration from a variety of literary, mythological, historical and artistic sources.
Kullervo, Op. 7 (1891–1892, withdrawn 1893) * [considered variously as a choral symphony and as a cycle of five tone poems] En saga , Op. 9 (1892, revised 1902) Spring Song , Op. 16 (1894, revised 1895)
Eight Four-part Songs, p. 1898; Five-part Song, "Who can dwell with greatness" (Austin Dobson), p. 1900 "Ode to Newfoundland" (Sir Cavendish Boyle), national anthem of the Dominion of Newfoundland and now the provincial anthem of Newfoundland and Labrador, c. 1902–04; Four-part and eight-part Song, "In Praise of Song" (Parry), p. 1904
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While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length of an entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended to inspire listeners to imagine or consider scenes, images, specific ideas or moods, and not (necessarily) to focus on ...