The Symphonic Poem in Britain 1850-1950aims to raise the status of the
genre generally, and in Britain specifically, by reaffirming British
composers' confidence in dealing with literary texts.
The Symphonic Poem in Britain 1850-1950 aims to raise the status of the
genre generally and in Britain specifically. The volume reaffirms
British composers' confidence in dealing with literary texts and takes
advantage of the contributors' interdisciplinary expertise by situating
discussions of the tone poem in Britain in a variety of historical,
analytical and cultural contexts.
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).
