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O texto abaixo foi retirado do New Grove Dictionary of Music and Musicians:
Around 1853 Liszt introduced the term ‘Symphonische Dichtung’ (‘Symphonic Poem’) to describe a growing body of one-movement orchestral compositions, programmatically conceived. ‘New wine demands new bottles’, he once declared. The language of music was changing; it seemed pointless to Liszt to contain it in forms that were almost 100 years old. In the symphonic poems there are shifts in structural emphasis: recapitulations are foreshortened while codas assume developmental proportions and themes are reshuffled into new and unexpected chronologies, with contrasting subjects integrated by means of thematic metamorphosis. He wrote 12 such pieces in Weimar (a 13th, Von der Wiege bis zum Grabe, is a product of his old age). The first group of six was published in 1856, the second between 1857 and 1861. All are dedicated to Princess Carolyne, and bear titles which reveal the source of their inspiration: Tasso, Les préludes, Orpheus, Prometheus, Mazeppa, Festklänge (all published 1856); Héroïde funèbre, Hungaria, Ce qu’on entend sur la montagne (all 1857); Die Ideale (1858); Hamlet, Hunnenschlacht (both 1861).
As gravações que ora vos trago destes poemas sinfônicos estão a cargo de dois grandes regentes que dispensam maiores apresentações: Sir George Solti e Herbert von Karajan.
1 Prometheus, S. 99
2 Les Préludes, S. 97
3 Festklänge, S. 101
London Philharmonic Orchestra
Sir George Solti – Conductor
4 Mazeppa, S. 100
Herbert von Karajan – Condutor