A BOHEMIAN PRESCRIPTION FOR AMERICA
Unsurprisingly, “cyclic” form (as it came to be called in the case of multimovement works) is most prevalent and systematically applied in the work of composers whose output contained both symphonies and symphonic poems or even operas, a versatility as unthinkable for a Liszt as it was for a Brahms. Brahms's own single-movement symphonic pieces, both composed in 1880, retained the old-fashioned designation “overture” and like Beethoven's overtures adhered to standard “first movement” form. While sporting “characteristic” titles—“Academic Festival” (composed on the themes of student songs as a thank-you for his Breslau degree) and “Tragic”—they were neither overtly programmatic nor conceived as narratives.
- Citation (MLA):
- Richard Taruskin. "Chapter 14 The Symphony Goes (Inter)National." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 5 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-014003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 14 The Symphony Goes (Inter)National. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 5 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-014003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 14 The Symphony Goes (Inter)National." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 5 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-014003.xml