Liszt

Method music was an significant element inside Romantic period. Non-musical ideas, for instance a myth, poem or literary plot are expressed from the musical compositions in the Romantics. The composer isn't attempting to produce a myth or story literally or precisely. The expansion on the scale of musical forms with which the Romantic composers experimented suited the expanded artistic goals with the Romantic Movement.

The piano was the well-liked instrument with the Romantic musicians, and Franz Liszt, regarded 1 on the most effective pianists of all times, was the epitome from the Romantic virtuoso. He might had been the very first musical performer to project a "Romantic" personality in his performances, a notion that has persisted on the present, not just inside the field of classical music, but well-known music as well.

During his virtuoso period, Liszt became interested in Hungarian popular music. He chose the material of Hungarian folk music for numerous of his compositions simply because "he admired the romantic elements from the gypsies' style and their improvisatory effects" (Searle 44). His use of his native Hungarian melodies can also be an indication from the National conscious, or spirit of Nationalism that flourished during the Romantic period.

If Beethoven can be seen as the end of a lengthy historical tradition of music developing inside a straight line, then Liszt, in comparison, can also be seen as the composer that enabled music to split into many directions and schools. The "real core" of Liszt's musical and aesthetic concepts is that he viewed the creative technique not as finite, but as ever-evolving (DiSilvio).

Of all of the composers influenced by Liszt's symphonic poem form and aesthetic, Richard Strauss (1864-1949) not only created use with the form, but he extended the symphonic poem into his own type that he termed the tone poem. Strauss' tone poems placed even higher emphasis of the poetic elements, as is also heard in such pieces as "Don Juan," "Thus Spake Zarathustra," "Don Quixote" and "Till Eulenspiegel."

German composer Richard Wagner, Liszt's son-in-law, after proclaiming the death on the symphony, praised the symphonic poem, made by Liszt, as "an aesthetically legitimate outgrowth of the symphonic style?" (Dahlhaus 236). What Wagner in particular considered noteworthy in Liszt's symphonic poems was the "distinctness of their expression and their poetic attitude, which never lost itself in trite, prosaic word-painting" (Dahlhaus 237). Liszt's development on the transformation of themes was later adopted by Wagner as leitmotif, a procedure that gives the principal items of an opera characters, situations, etc. musical themes or motives to build a link between the drama in the story and also the music.

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