Analysis Of Les Prп їЅludes S. 97
Les PrГ©ludes S.97 by Franz Liszt (October 22, 1811 July 31, 1886) is the third of
his thirteen symphonic poems. The premiere took place at the Weimar Hoftheater
on 23 February, 1854 under the baton of Liszt for a benefit concert. The
instrumentation consists in three flutes (third also piccolo), two oboes, two clarinets,
two bassoons, four horns, two trumpets, three trombones, tuba, timpani, snare drum,
cymbals, bass drum, harp and strings. The year 1847 was the year where Liszt was
moving to Weimar to begin a new stage in his musical life, he took the decision to
finish his career as a pianist and begin to dedicate to the composition, besides, he met
the Polish Princess Carolyne zu Sayn Wittgenstein, that she impulse his career as a
composer. He found the necessity to evolve the music, and the way that he found was
combining music with literature. In this essay I will discuss how Les PrГ©ludes
evolve the symphonic genre.
Mark Evans Bonds in Absolute Music discusses LisztВ ґs Program music. According
with Bonds, Liszt in his Harold essay, he distinguishes between ¬¬specifically
musical composer and the composer driven by an overarching poetic image or
narrative. In program music, the recurrence, variation, alteration, and modulation of
motifs are determined by their relationship to a poetic idea. Liszt used the new term
to identify a repertory of instrumental music which through an evocative title, a verbal
program, or both, draws the listenerВ ґs attention in advance toward a specific object .
Bonds analyses the opinion of Liszt in his program music, how he tried to convince
that program music is the next step in music evolve, the necessity of break form
rules to adequate the music into literature (in the case of Liszt) and the fact that he
was reinforcing the first ideas of combining music with other arts, like Berlioz in his
Symphonie Fantastique . Liszt proclaim himself as a BeethovenВ ґs successor, he felt
that he had the necessity to create something new, as we know, the Weimar period
of Liszt was dedicated to him as a composer, leaving aside the achievements of other
composers like Haydn, Mozart and Beethoven. He looked that form and harmony
were like a formula after Beethoven, because