| Marketing Copy | Hungarian virtuoso pianist and composer Franz Liszt (1811-1886) began to develop the concept of the symphonic poem (symphonische dichtung; poème symphonique) following his 1847 retirement from concert performances at the piano and settlement in Weimar. The Western music world was entrenched in a debate about non-programmatic versus programmatic music and the future of the symphonic form. Liszt's symphonic poems put him firmly in the programmatic camp, while he also adapted Beethoven's cyclic form so that the entire work could be contained in a single movement. His SYMPHONIC POEM No. 3: LES PRÉLUDES ("Preludes" or "The Beginnings"), S. 97 is the actual first use of the term "symphonic poem." It was originally intended as an overture for a choral cycle titled LES QUATRE ÉLÉMENS (“The Four Elements”), based on four poems by Joseph Autran. When the overture concept was abandoned for the symphonic poem, the inspiration also changed to an ode by the French poet Alphonse de Lamartine, also titled LES PRÉLUDES, resulting in some confusion about the programmatic inspiration. Further controversy resulted from Liszt's recruitment of composer Joachim Raff to help assist Liszt in orchestration, and area of weakness the great pianist. Despite later research proving that Liszt had a dominant hand and final say in all orchestration matters, often rejecting or modifying Raff's proposals, Raff's public proclamations that he was responsible for the orchestration created doubts about Liszt's role in that for decades. The work premiered in Weimar on February 23, 1854, Liszt himself conducting, and it has remained the most popular of his symphonic poems in the orchestral repertoire, performed frequently today. Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set). |
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