Research Point: Programme Music & Symphonic Poems

Most likely influenced by Beethoven, composers such as Berlioz began experimenting with ‘programme’ music.  This style of composition was aimed to use instruments to ‘paint a picture’ of a particular scene or mood.  Roberts (1987) writes:

“Program music emerged as a new genre in which composers attempted to express the affective essence of extra-musical ideas through purely instrumental means.”

Many musicians such as Debussy, Elgar and later composers such as Copland, Messian and Colgrass experimented with this style of music.  Famously Dukas’ The Sorcerers Apprentice (1896-97) uses many instrumental techniques to vividly paint the picture of the sorcerer’s workshop and the trouble that follows.  A number of Beethoven’s compositions such as the Coriolanus Overture (1807), also used the music to paint a very vivid picture of the story of Coriolanus.

In contrast to ‘absolute music’; defined as music that is about nothing, programme music provides the composer with the opportunity to do just the opposite and create pieces that imitates a specific situation or invokes strong moods and emotions in the listener.   In some compositions, the instruments are used to directly mimic the sounds of the environment e.g. flutes and birdsong, or harp and lapping water, whilst others use more abstract techniques and build emotion through the movement of the music.

Perhaps it could be argued that all Romantic music could be classed within the ‘programme music’ genre, given its nature of expression.

Exercise: Programme Music

See Listening Log for details of analysis of Berlioz’ Symphanie Fantastique (1830)

Research Point: Symphonic Poems

In another attempt to break away from ‘absolute’ music, many composers experimented with symphonic poems during the Romantic Period.  Kennedy & Kennedy (2007:738) describe a symphonic poem as a piece that:

“While on a symphonic scale, were not ‘pure’ symphonies because they dealt with descriptive subjects taken from Greek mythology, Roman Literature, recent history or imaginative fantasy.”

The term was first thought to be used by Franz Lizst to describe his 13 works composed in this style.  Richard Strauss was also a major composer of this style, opting to write his pieces representing an emotional concept.

Although the term ‘symphonic poems’ are used to describe pieces written during this era, I can’t help but think that the above definition is actually true of most music written within the Romantic era, which aimed to convey emotion and move away from absolute music.

For details on my thoughts on pieces by these composers, please see my listening log.