Search Results for symphonic-poem
1-20 of 165 Search Results for
19th-Century Music. 2016; 402159–181 doi: https://doi.org/10.1525/ncm.2016.40.2.159
Published: 01 November 2016
...Christopher Campo-Bowen Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer...
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
... merits at a time when the composer was becoming less sympathetic to the idea of “descriptive music.” I conclude by discussing the connections between Viviane and Le Roi Arthus and exploring how Chausson's reuse of material from the symphonic poem sheds light on issues of influence and signification in...
19th-Century Music. 2013; 37291–112 doi: https://doi.org/10.1525/ncm.2013.37.2.91
Published: 01 November 2013
...Kelly St. Pierre Scholars have long framed similarities between Bedřich Smetana's “Vyšehrad” (the first movement of Má vlast ) and Zdeněk Fibich's symphonic poem Záboj, Slavoj, and Luděk as a threat to Smetana's originality. In his biography of the composer, for example, Brian Large moved to...
19th-Century Music. 2013; 363231–247 doi: https://doi.org/10.1525/ncm.2013.36.3.231
Published: 01 March 2013
... relate to his music, by applying the concept to the symphonic poem Héroïde funèbre . © 2013 by the Regents of the University of California 2013 Liszt identity language style codeswitching sociolinguistics 231 JOANNE CORMAC Liszt and Language 19th-Century Music, vol. 36, no. 3, pp. 231 47...
19th-Century Music. 2002; 26152–72 doi: https://doi.org/10.1525/ncm.2002.26.1.52
Published: 01 July 2002
...Alexander Rehding The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may...
19th-Century Music. 2004; 282108–132 doi: https://doi.org/10.1525/ncm.2004.28.2.108
Published: 01 November 2004
... subjects through a purely instrumental medium, Mendelssohn's overtures were christened as vessels of musical progress in a manner that anticipated significantly the claims of the midcentury Lisztian symphonic poem. To grasp more fully the overtures' progressivism, though, we must attend closely to the...
19th-Century Music. 2005; 292097–120 doi: https://doi.org/10.1525/ncm.2005.29.2.097
Published: 01 November 2005
... August 1867) as a descending scale of semitone, whole tone, semitone, whole tone 3 a scale that, during the composer s lifetime, came to be known as the Rimsky-Korsakov scale. In the aforementioned letter, Rimsky describes a passage from his symphonic poem Sadko, which features in the upper voices a...
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... Iriarte y Oropesa (1750 91), whose didactic poem La Música had appeared the year before (1779) and who described the semitone as primordial : Let him o er whom or tears Example 1: Gaetano Brunetti s Symphony No. 33, the beginning of the first movement. 46See Matthew Head, Fantasia and Sensibility, in...
19th-Century Music. 2019; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
..., and abstract, treating the nature of Jesus self-sacrifice and its conse- quences for the believer not entirely affect-neutral but not a poem of sorrow either.2 Why did Bach inflect this text so affectively at all, turning this doctrinal statement into a moment of tragedy in the Passion? This problem...
Includes: Multimedia, Supplementary data
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... heading Ministère de l Intérieur, addressed to G. Hartmann, [Paris], 23 rue Mosnier, 8 April 1873, in Auto- graphes . . . Musiciens / Lettres et manuscrits autographes. . . . , Sale Couturier-Nicolay, Hôtel Drouot, 18 April 1989, 99 JEAN- CHRISTOPHE BRANGER Massenet s Esclarmonde Poème d avril,42 a song...
19th-Century Music. 2018; 42130–52 doi: https://doi.org/10.1525/ncm.2018.42.1.30
Published: 01 July 2018
... uncertain if Chopin had Mickiewicz s poetry in mind when he composed his ballades but that the act of finding the missing text involves an ideology in which a poem is an interpreta- tion of a ballade because words are more stable than music.6 Interpretation does not work that way; it does not seek a closed...
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... arrangement for harmonium.16 On 26 November 1862, 7 pm, a soirée at Carl Haslinger s billed as an Erinnerungsfeier an Franz Schubert included not only works by Schubert but also Der Gang nach Hernals: Episode aus Schubert s Leben, an extremely lengthy narrative poem by L. Scheyrer; and Freie Fantasie auf...
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... part because it required a tragic actress as well as a prima donna. If this plan had been realized in one of the poems of equal rank in form, we should have had a second model for what I am here trying to pave the way. For in the Second Faust music is needed everywhere, it is indispensable, the...
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
..., which it covers up as though with flowers. The Homeric multiplicity of gods is itself a unity transformed into a multiplicity. . . . The pure sky that floats over the Homeric poems could first spread out over Greece after the dark and darkening power of that uncanny principle (one labels as uncanny...
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
... its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish...
19th-Century Music. 2017; 403223–238 doi: https://doi.org/10.1525/ncm.2017.40.3.223
Published: 01 March 2017
... is held to capture qualities that are characteristic of the represented object itself. Second, and relatedly, music achieves more than mere literary representation (Cui barely even mentions Pleshcheyev s original poem), just as it seems to bypass visual mediation to evoke the object of representation...
19th-Century Music. 2015; 392167–183 doi: https://doi.org/10.1525/ncm.2015.39.2.167
Published: 01 November 2015
... pictures with reference to well- known poems or novels. The brochure offers ample evidence of the literary and scientific sources with which the audience would have been familiar.39 After a brief description of the auditorium, the text presents a two-page ac- count of the earthquake, in informative, Lyell...
19th-Century Music. 2015; 383193–218 doi: https://doi.org/10.1525/ncm.2015.38.3.193
Published: 01 March 2015
... into cadenza on gypsy scale (813) 204 19TH CENTURY MUSIC both), it might be possible to see the work as a fused multimovement entity, such as is found in many of the symphonic poems including Les Préludes, Tasso, and Hamlet. Where the Waltz differs from these is in the absence of an overarching sonata...
19th-Century Music. 2015; 39135–55 doi: https://doi.org/10.1525/ncm.2015.39.1.35
Published: 01 July 2015
... its mythological account of the faun s sexually charged encounter with elusive nymphs main- tains the general subject matter of the poem by Mallarmé that inspired the music.15 Thus, Debussy s sounds and primary referents are components of the ballet, as one would expect in any adaptation. But Brian...
19th-Century Music. 2015; 39156–79 doi: https://doi.org/10.1525/ncm.2015.39.1.56
Published: 01 July 2015