Liszt split the tone poem into three movements played without a break remaining as faithful as possible to the drawing. From the Cradle to the Grave was inspired by Mihaly Zichy's drawing depicting the three main stages of life: Cradle, Fight for Existence and Death. 'Die Ideale' is based on Schiller's poem of the same name and is the second longest of the tone poems at almost half an hour. The final two symphonic poems contain no specific improvement on the previous ones but still have much to commend them. It was premièred in December 1857 at Weimar. Dealing with the exploits of the Hun Attila it was inspired by Wilhelm Von Kaulbach's painting: 'The Battle on the Catalonia Plain' Incorporating the innovative use of the organ, it is a most exciting piece making it inconceivable that performances of this work remain extremely rare. The Eleventh, 'Hunnenslacht' (Battle of the Huns) is very similar to Mazeppa in its layout and storyline. Unfortunately, this work remained unperformed for several decades in its final form for it was first intended as an overture to a musical drama. The Tenth 'Hamlet' is very mysterious and eerie depicting Shakespeare's classic plot to the full. This brings us to the final quartet of tone-poems, probably unknown to most but of great musical importance nonetheless. This was the only symphonic poem to receive its' première in the composers native land (8 th September 1856) an event which can count amongst Liszt's greatest artistic achievements. It is sporadically based on Mihaly Vorosmarty's homage to Liszt recalling Hungary's great national heroes. The Ninth, 'Hungaria' is another bombastic work without a set programme. Indeed many scholars believe that this is his greatest of all the tone poems. Here Liszt surpasses himself in composing a funeral elegy of great depth using dissonances which were well ahead of their time. The Eighth, 'Héroïde funèbre' is another march though in completely different mood to 'Festklänge'. The Seventh has no particular programme and is merely a succession of thematic motifs interwoven into a gigantic march. The composition is based on Victor Hugo's poem from 'Les Orientales' and was performed for the first time in April of 1854. 'Mazeppa' is another work that is frequently heard, with the Polish legend aptly described by Liszt with even Mazeppa's fall from his horse described in orchestral terms. Prometheus is filled with orchestral playing of great difficulty and can be counted as Liszt's most innovative work during the Weimar period. The Fifth and Sixth symphonic poems bring together two famous legends, Prometheus and Mazeppa. Both works were performed under Liszt's baton in 1854. 'Orpheus' is completely different, a quiet piece depicting the Greek God with the harp used most delicately, this piece was a particular favorite of the English conductor, Sir Thomas Beecham. 'Les Préludes' is a showpiece for orchestra with several memorable themes (which have found their way into various modern television programmes) well constructed and very confident in its dramatic assertation. The next two symphonic poems, 'Les Préludes' after Alphonse de Lammartine and 'Orpheus' based on the famous Greek legend are the only two works that are played with any regularity in modern concerts. The subject matter of the earthly disappointments and divine triumph was something that was to feature later in 'Mazeppa' and 'Hunnenslacht'. The composer conducted the first performance at Weimar in April 1854. The second, 'Tasso, Lamento e Trionfo' is based on Lord Byron's epic poem and can count as one of Liszt's most popular works. Liszt took his subject from Victor Hugo's poem of the same name with the heady romanticism of the poem admirably captured by the music. It is rather long (over 30 minutes) and is in fact sometimes referred to as 'Bergsinfonie'. Liszt's first symphonic poem 'Ce qu'on Entend sur la Montagne' was composed between 18 with the composer conducting the first performance at Weimar in February 1850. We are only concerned with the former works, as it was here that Liszt was to prove his mettle as a composer for orchestra. Liszt also composed two programme symphonies: 'Faust' after Goethe and Dante after the great Italian poet's memorable work. It is very wrong to do so, as Liszt was also immensely active in the orchestral field, being the creator of the symphonic poem, which was to reach perfection with Richard Strauss. The great Hungarian composer, Franz Liszt is most of the time only remembered as a superb piano virtuoso or as the composer who wrote solely for that instrument.
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