Para la obra de Liszt, véase Poemas sinfónicos (Liszt) Un poema sinfónico es una obra de origen extra musical, de carácter poético literario, cuya finalidad es mover sentimientos y despertar sensaciones, o describir una escena mediante la música. Generalmente consta de un único movimiento y está escrito para orquesta, aunque puede ser para piano o para pequeñas formaciones instrumentales. El poema sinfónico es una guía para el desarrollo de la forma musical como tal en términos técnicos. El término fue aplicado por primera vez por Franz Liszt que escribió trece composiciones de este género. La música descriptiva fue sin duda el mejor camino para transmitir obras literarias, ya fueran de carácter religioso, épico, heroico, fantástico, etc. pero será con el poema sinfónico donde ésta encuentre su más fuerte forma de expresión. Un poema sinfónico puede ser una obra en sí misma, o formar parte de un ciclo de poemas sinfónicos a modo de suite. Un ejemplo de esto es Má vlast (Mi patria) de Bedřich Smetana, formado por seis poemas sinfónicos. Lo opuesto a poema sinfónico sería la música absoluta, la cual no se basa en asociaciones sino en la música misma.

Leer el artículo completo en Wikipedia · CC-BY-SA

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 (tone poem) 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. 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 (necessarily) to focus on following traditional patterns of musical form such as sonata form. This intention to inspire listeners was a direct consequence of Romanticism, which encouraged literary, pictorial and dramatic associations in music. According to Hugh 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. The symphonic poem remained a popular composition form from the 1840s until the 1920s, when composers began to abandon the genre. 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, (as do those of Richard Strauss), or it can be part of a series combined into a symphonic suite or cycle. For example, The Swan of Tuonela (1895) is a tone poem from Jean Sibelius's Lemminkäinen Suite, and Vltava (The Moldau) by Bedřich Smetana is part of the six-work cycle Má vlast. While the terms "symphonic poem" and "tone poem" have often been used interchangeably, some composers such as Richard Strauss and Sibelius have preferred the latter term for their works.

Leer el artículo completo en Wikipedia · CC-BY-SA