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Statements

Subject Item
dbr:Tone_poems_(Strauss)
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rdfs:label
Poemas sinfónicos (Strauss) Tone poems (Strauss)
rdfs:comment
Los poemas sinfónicos de Richard Strauss se señalan como el punto culminante de la música programática en la última parte del siglo XIX, ampliando sus límites y llevando el concepto de realismo en la música a un nivel sin precedentes. En estas obras, amplió la gama expresiva de la música al representar temas que muchas veces se consideraban inadecuados para la representación musical. Como señala Hugh MacDonald en el New Grove Dictionary of Music and Musicians, "en los años previos a la Primera Guerra Mundial, estas obras se consideraban a la vanguardia de lo moderno". ​ The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction. As Hugh MacDonald points out in the New Grove Dictionary of Music and Musicians, "In the years prior to World War I these works were held to be in the vanguard of modernism."
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Los poemas sinfónicos de Richard Strauss se señalan como el punto culminante de la música programática en la última parte del siglo XIX, ampliando sus límites y llevando el concepto de realismo en la música a un nivel sin precedentes. En estas obras, amplió la gama expresiva de la música al representar temas que muchas veces se consideraban inadecuados para la representación musical. Como señala Hugh MacDonald en el New Grove Dictionary of Music and Musicians, "en los años previos a la Primera Guerra Mundial, estas obras se consideraban a la vanguardia de lo moderno". ​ The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction. As Hugh MacDonald points out in the New Grove Dictionary of Music and Musicians, "In the years prior to World War I these works were held to be in the vanguard of modernism."
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