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A collection can include any number of poems, ranging from a few (e.g. the four long poems in T. S. Eliot's Four Quartets) to several hundred poems (as is often seen in collections of haiku). Typically the poems included in single volume of poetry, or a cycle of poems, are linked by their style or thematic material.
Goethe and Schiller in front of the Deutsches Nationaltheater and Staatskapelle Weimar, where many of Liszt's symphonic poems premiered. [4]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 Leipzig and the subsequent press coverage ...
The title Four Quartets connects to music, which appears also in Eliot's poems "Preludes", "Rhapsody on a Windy Night", and "A Song for Simeon" along with a 1942 lecture called "The Music of Poetry". Some critics have suggested that there were various classical works that Eliot focused on while writing the pieces. [ 16 ]
Four of them—The Water Goblin, The Noon Witch, The Golden Spinning Wheel and The Wild Dove—are based on poems from Karel Jaromír Erben's Kytice (Bouquet) collection of fairy tales. [27] [30] In these four poems, DvoĆák assigns specific musical themes for important characters and events in the drama. [30]
The music was composed between 1845 and 1854, and began as an overture to Liszt's choral cycle Les quatre élémens (The Four Elements), then revised as a stand-alone concert overture, with a new title referring to a poem by Alphonse de Lamartine. Its premiere was on 23 February 1854, conducted by Liszt himself.
Debussy, a lifelong admirer of Verlaine's poetry, had taken a copy of the collection with him when he went to study in Rome in 1885. [1] Although other composers, from Gabriel Fauré to Benjamin Britten set Verlaine's poetry, Debussy, according to the Grove Dictionary of Music and Musicians, was the first composer of any importance to do so. [2]
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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.