|
A symphonic poem or tone poem is a piece of orchestral or concert band music, usually in a single continuous section (a movement) that illustrates or evokes the content of a poem, short story, novel, painting, landscape, or other (non-musical) source. Hungarian composer Franz Liszt first applied the term to his 13 works in this vein. In its aesthetic objectives, the symphonic poem is in some ways related to opera. Whilst it does not use a sung text, it seeks, like opera, a union of music and drama.〔Sadie, ''New Grove (1980), 13:544–545.〕〔 While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length of an entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended to inspire listeners to imagine or consider scenes, images, specific ideas or moods, and not to focus on following traditional patterns of musical form (e.g. sonata form). This intention to inspire listeners was a direct consequence of Romanticism, which encouraged literary, pictorial and dramatic associations in music. Musical works that attempt to inspire listeners in this way are often referred to as program music, while music that has no such associations may be called absolute music. 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. A symphonic poem may stand on its own, or it can be part of a series combined into a symphonic suite. For example, ''The Swan of Tuonela'' (1895) is a tone poem from Jean Sibelius's ''Lemminkäinen Suite''. A symphonic poem can also be part of a group of interrelated works, such as ''Vltava'' (''The Moldau'') as part of the six-work cycle ''Má vlast'' by Bedřich Smetana. Also, while the terms "symphonic poem" and "tone poem" have often been used interchangeably, some composers such as Richard Strauss and Jean Sibelius have preferred the latter term for pieces that were less symphonic in design and in which there is no special emphasis on thematic or tonal contrast.〔Spencer, P., 1233〕 According to Macdonald, the symphonic poem met three 19th century aesthetic goals: it related music to outside sources; it often combined or compressed multiple movements into a single principal section; and it elevated instrumental program music to an aesthetic level that could be regarded as equivalent to, or higher than opera.〔Macdonald, ''New Grove (1980)'', 18:428.〕 The symphonic poem remained popular from the 1840s until the 1920s, when the genre suffered a severe decline in popularity. == Background == In the second quarter of the 19th century, the future of the symphonic genre came into doubt. While many composers continued to write symphonies during the 1820s and 30s, "there was a growing sense that these works were aesthetically far inferior to Beethoven's.... The real question was not so much whether symphonies could still be written, but whether the genre could continue to flourish and grow".〔Bonds, ''New Grove (2001)'', 24:837-8〕 Felix Mendelssohn, Robert Schumann and Niels Gade achieved successes with their symphonies, putting at least a temporary stop to the debate as to whether the genre was dead.〔Bonds, ''New Grove (2001)'', 24:838.〕 Nevertheless, composers increasingly turned to the "more compact form" of the concert overture "...as a vehicle within which to blend musical, narrative and pictoral ideas." Examples included Mendelssohn's overtures ''A Midsummer Night's Dream'' (1826) and ''The Hebrides'' (1830).〔 Between 1845 and 1847, Franco-Belgian composer César Franck wrote an orchestral piece based on Victor Hugo's poem ''Ce qu'on entend sur la montagne''. The work exhibits characteristics of a symphonic poem, and some musicologists, such as Norman Demuth and Julien Tiersot, consider it the first of its genre, preceding Liszt's compositions.〔Ulrich, 228.〕〔Murray, 214.〕 However, Franck did not publish or perform his piece; neither did he set about defining the genre. Liszt's determination to explore and promote the symphonic poem gained him recognition as the genre's inventor.〔Macdonald, ''New Grove (2001)'', 24:802, 804; Trevitt and Fauquet, ''New Grove (2001)'', 9:178, 182.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Symphonic poem」の詳細全文を読む スポンサード リンク
|