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Franz Liszt composed his Prometheus in 1850, numbering it No. 5 in his cycle of symphonic poems when he revised it in 1855. The work is based on the Greek myth detailing the Titan Prometheus' theft of fire from the gods and is numbered S.99 in the Searle catalogue. [1]
In 1850, Franz Liszt composed an overture and eight choruses with orchestra accompaniment for Johann Gottfried Herder's Der entfesselte Prometheus (Prometheus Unbound), a mythological work of thirteen scenes meant as a sequel to Aeschylus's Prometheus Bound . This was to be performed for the Herder Festival scheduled for August of that year in Weimar. [2] Liszt gave indications for the orchestration, and from these notes Liszt's helper Joachim Raff produced a score which was used in the first performance. This concert commemorated the unveiling of a monument to Herder on 24 August 1850. In 1855 Liszt revised both the overture and the choruses, added new instruments, mainly woodwinds, which resulted in the expansion of the overture to a symphonic poem and the choruses to a concert stage work. The symphonic poem was first performed on 18 October 1855. [2] [3]
The work that was composed to illustrate the imprisonment, pain, hope, and the final triumph of Prometheus turned out to be incomprehensible to the contemporary public because of the many dissonances in the music. The choral parts ended too soon and were unusable, but the overture acquired its own life as a symphonic poem thanks to many performances of it by conductor Hans von Bülow.
For the performance of the revised choruses, Weimar critic Richard Pohl condensed Herder's work into prologues to be read before each chorus. Unlike Herder's allegorical text, Pohl's prologues develop Prometheus' character, emphasizing both his sufferings and his turbulent relationship with Zeus. They also create an intensity not present in Herder's drama, which carries over into the symphonic poem, from the furious opening (marked Allegro energico ed adagio assai) to the principal musical material (marked Allegro molto appassionato). [4]
As with the other symphonic poems written during the Weimar period, Prometheus was also transcribed for piano four-hands and two pianos. Additionally, the organist and composer Jean Guillou has transcribed Prometheus for organ solo.
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Franz Liszt was a Hungarian composer, pianist and teacher of the Romantic era.
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. The German term Tondichtung appears to have been first used by the composer Carl Loewe in 1828. The Hungarian composer Franz Liszt first applied the term Symphonische Dichtung to his 13 works in this vein.
Sir Granville Ransome Bantock was a British composer of classical music.
Joseph Joachim Raff was a German-Swiss composer, pedagogue and pianist.
Karl Tausig was a Polish virtuoso pianist, arranger and composer. He is generally regarded as Franz Liszt's most esteemed pupil, and one of the greatest pianists of all time.
Felix August Bernhard Draeseke was a composer of the "New German School" admiring Franz Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.
Humphrey Searle was an English composer and writer on music. His music combines aspects of late Romanticism and modernist serialism, particularly reminiscent of his primary influences, Franz Liszt, Arnold Schoenberg and Anton Webern, who was briefly his teacher. As a writer on music, Searle published texts on numerous topics; he was an authority on the music of Franz Liszt, and created the initial cataloguing system for his works.
Sergei Mikhailovich Lyapunov was a Russian composer, pianist and conductor.
A Faust Symphony in three character pictures, S.108, or simply the "Faust Symphony", is a choral symphony written by Hungarian composer Franz Liszt inspired by Johann Wolfgang von Goethe's drama, Faust. The symphony was premiered in Weimar on 5 September 1857, for the inauguration of the Goethe–Schiller Monument there.
August Friedrich Martin Klughardt was a German composer and conductor.
A Symphony to Dante's Divine Comedy, S.109, or simply the "Dante Symphony", is a choral symphony composed by Franz Liszt. Written in the high romantic style, it is based on Dante Alighieri's journey through Hell and Purgatory, as depicted in The Divine Comedy. It was premiered in Dresden in November 1857, with Liszt conducting himself, and was unofficially dedicated to the composer's friend and future son-in-law Richard Wagner. The entire symphony takes approximately 50 minutes to perform. It premiered on 7 November 1857.
William Wallace was notable as a Scottish classical composer and writer. He served as Dean of the Faculty of Music in the University of London.
Les préludes, S.97, is the third of Franz Liszt's thirteen symphonic poems. The music was composed between 1845–54, and began as an overture to Liszt's choral cycle Les quatre élémens, then revised as a standing alone concert overture, with a new title referring to a poem by Alphonse de Lamartine. Its premiere was on 23 February 1854, conducted by Liszt himself. The score was published in 1856 by Breitkopf & Härtel. Les préludes is the earliest example of an orchestral work entitled "Symphonic Poem".
The symphonic poems of the Hungarian composer Franz Liszt are a series of 13 orchestral works, numbered S.95–107. The first 12 were composed between 1848 and 1858 ; the last, Von der Wiege bis zum Grabe, followed in 1882. These works helped establish the genre of orchestral program music—compositions written to illustrate an extra-musical plan derived from a play, poem, painting or work of nature. They inspired the symphonic poems of Bedřich Smetana, Antonín Dvořák, Richard Strauss and others.
A choral symphony is a musical composition for orchestra, choir, and sometimes solo vocalists that, in its internal workings and overall musical architecture, adheres broadly to symphonic musical form. The term "choral symphony" in this context was coined by Hector Berlioz when he described his Roméo et Juliette as such in his five-paragraph introduction to that work. The direct antecedent for the choral symphony is Ludwig van Beethoven's Ninth Symphony. Beethoven's Ninth incorporates part of the Ode an die Freude, a poem by Friedrich Schiller, with text sung by soloists and chorus in the last movement. It is the first example of a major composer's use of the human voice on the same level as instruments in a symphony.
Orpheus is a symphonic poem written by Franz Liszt in 1853–54. He numbered it No. 4 in the cycle of 12 he wrote during his time in Weimar, Germany. It was first performed on 16 February 1854, conducted by the composer, as an introduction to the first Weimar performance of Christoph Willibald Gluck's opera Orfeo ed Euridice. The performance helped celebrate the birthday of Weimar's Grand Duchess Maria Pavlovna, who was an amateur musician and a staunch supporter of Liszt at Weimar.
Franz Liszt composed his Tasso: lamento e trionfo in 1849, revising it in 1850–51 and again in 1854. It is numbered No. 2 in his cycle of 13 symphonic poems written during his Weimar period.
Max Erdmannsdörfer was a German conductor, pianist and composer.
Mazeppa is a symphonic poem composed by Franz Liszt between the years 1851 to 1854 for orchestra. Mazeppa, S. 100, is the sixth in the cycle of twelve symphonic poems written during Liszt's time in Weimar, however a thirteenth composition was added to his collection in 1882. Mazeppa is based on the poem of the same title written by Victor Hugo in 1829. The work premiered at the Court Theatre in Weimar on April 16, 1854.
Les quatre élémens, S.80, is a cycle of four choral pieces by Franz Liszt, to words by Joseph Autran. The cycle was composed in 1844–48, originally with piano accompaniment, later orchestrated. The title is an allusion to the Ancient Greek elements: earth, air, water, and fire. As an afterthought, Liszt composed an overture for the cycle in 1849–50, but this was instead revised to become his symphonic poem Les préludes.
