The Symphonic Poem in Britain, 1850-1950
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This book highlights some of the continental models that influenced British composers, and identifies a range of issues related to perceptions of the genre. Richard Strauss became an important figure in Britain during this time, not only in terms of the clear impact of his tone poems, but the debates over their value and even their ethics. A focus on French orchestral music in Britain represents a welcome addition to scholarly debate, and links to issues in several other chapters.
The historical development of the genre, the impact of compositional models, issues highlighted in critical reception as well as programming strategies all contribute to a richer understanding of the symphonic poem in Britain. Works by British composers discussed in more detail include William Wallace's Villon (1909), Gustav Holst's Beni Mora(1909-10), Hubert Parry's From Death to Life (1914), John Ireland's Mai-Dun (1921), and Frank Bridge's orchestral 'poems' (1903-15).
Introduction - Michael Allis and Paul Watt
Narrative and Formal Plasticity in the British Symphonic Poem, 1850-1950 - Jeremy Dibble
The Symphonic Poem and British Music Criticism - Paul Watt
Richard Strauss's Tone Poems in Britain, 1890-1950 - David Larkin
French Connections: Debussy and Ravel's Orchestral Music in Britain from Prelude a l'apres-midi d'un faune to Bolero - Barbara L. Kelly
The Rise of the Symphonic Poem in Glasgow, 1879-1916: A Documentary History - Anne-Marie Forbes and Heather Monkhouse
'A curious intricate work of the modern, but not theultra-modern, school': William Wallace's Villon - Michael Allis
Gustav Holst's Beni Mora and the Orientalist Imagination - Christopher Scheer
Symphonic Poetry, 1914: Parry's From Death To Life - Benedict Taylor
John Ireland's Mai-Dun: Composite Influences - Fiona Richards
Frank Bridge: Poems of Re-enchantment - Jonathan Clinch