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Les préludes is the final revision of an overture initially written for a choral cycle Les quatre élémens (The Four Elements, 1844–48), on 4 poems by the French author Joseph Autran: La Terre (The Earth), Les Aquilons (The north Winds), Les Flots (The Waves), Les Astres (The Stars).
'In Central Asia') is a symphonic poem (or "musical tableau") ... on YouTube This page was last edited on 12 November 2024, at 13:46 (UTC). Text is ...
A symphonic poem or tone poem is a piece of orchestral music, usually in a single continuous movement, which illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source.
Prometheus, by Gustave Moreau. Franz Liszt composed his Prometheus in 1850, numbering it No. 5 in his cycle of symphonic poems when he revised it in 1855. The work is based on the Greek myth detailing the Titan Prometheus' theft of fire from the gods and is numbered S.99 in the Searle catalogue.
Inspired by the Goethe poem, Dukas's work is part of the larger Romantic genre of programmatic music, which composers like Franz Liszt, Claude Debussy, Jean Sibelius and Richard Strauss increasingly explored as an alternative to earlier symphonic forms. Unlike other tone poems, such as La mer by Debussy or Finlandia by Sibelius, Dukas's work is ...
Ce qu'on entend sur la montagne, symphonic poem after Victor Hugo, (1846) Rédemption, for soprano, chorus and orchestra, M. 52 (1872, r. 1874)
Tintagel is a symphonic poem by Arnold Bax. It is his best-known work, and was for some years the only piece by which the composer was known to many concert-goers. The work was inspired by a visit Bax made to Tintagel Castle in Cornwall in 1917, and, although not explicitly programmatic, draws on the history and mythology associated with the ...
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.