Symphonic poems Liszt The Hungarian composer Franz Liszt desired to expand single-movement works beyond the concert overture form. The first practice was cyclic forma procedure established by Beethoven in which certain movements are not only linked but actually reflect one another's content. Thematic transformation, like cyclic form, was nothing new in itself. It had been previously used by Mozart and Haydn.
Audio CD A few good moments marred by many bad ones. True, Haitink does manage to perform several of these pieces fairly competently, such as Hungaria, which is in the realm of pure music, but the rest of these pieces are visionary impressions of the fiery passions of human nature, many of which are based on dramatic poems or works of art.
However, the vast majority of these works are performed without insight, care, or enthusiasm. They are rough, unpolished, and lack vision, or have ludicrously slow tempi, such as how Haitink massacred Heroide Funebre. Hence, the intent of Heroide Funebre was to not only pay homage to the heroic fallen, but more importantly express the brutality of war.
It is supposed to oscillate between mournful dirges of sorrow and ominous bouts of angst. Kurt Masur, although heavy handed at times, managed to capture this masterful piece very effectively.
Masur infuses the work with an almost death-march quality, while the climax near the end rises to a bone-crushing explosion of outrage. While Haitink manages to pull off a few pieces with some ability, such as the popular Mephisto Waltz, Orpheus, The Battle of the Huns, or the neglected little masterwork, From the Cradle to the Grave, his lack of temperament and careless treatment of the other pieces end up producing lackluster performances that sound like the orchestra never rehearsed these pieces and the conductor had just been handed the scores for the first time and was pushed into the studio to hurriedly record them.
It is clear; Haitink is a master of Bruckner, but not Liszt. He was the wrong man for an important job. And it is recordings like this that give fuel to the haughty hecklers who loathe Liszt to begin with and now seem to be validated. But how wrong they are! As mentioned, despite the few tolerable renditions by Haitink, the majority are intolerable to listen to.
Despite the flaws inherent in some pieces, it is crucial to understand the time in which they were composed, most in the mids, and that these were extremely experimental in nature.
As such, breaking new ground is always accompanied by flaws, and they must be taken for what they are…minor glitches in the quest for innovation. The naysayers are dead wrong. And, yes, some are mere emeralds, a bit green, like Die Ideale or Festklange, yet they do have a charm of their own.
If you plan on purchasing, or already purchased, this recording, I say keep an open mind and seek other performances to truly appreciate the beauties, and bombast, inherent in these fireballs of innovation.You can group several channels together (for example all strings channels) and send them all to a group track.
There you'll put the effects you want, and they will affect all the channels routed into that track. 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.
Figured bass points to a deemphasis of interior voices, a polarity between bass and soprano, and a general trend toward harmonic thinking. The early Baroque/late Renaissance 5 voice texture gives way to a 3 voice texture by c The winds mostly double the strings in early orchestral works.
Contrary to the popular belief, Liszt's symphonic poems contain a great deal more that orchestral effects and an overdose rhetoric.
Haitink brings out beautifully the subtle orchestral colours and the numerous ravishing melodic lines. Symphony in D minor, along with the violin sonata and the piano quintet, the Symphonic Variations for piano and orchestra, and several symphonic poems—were all composed between and , the last decade of his life.
Some piano and chamber works, such as Arnold Schoenberg's string sextet Verklärte Nacht, have similarities with symphonic poems in their overall intent and effect.
However, the term symphonic poem is generally accepted to refer to orchestral works.