【管弦乐队】李斯特 - 第13交响诗“从摇篮到坟墓” S.107

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During his time at Weimar Liszt composed twelve symphonic poems which had an incalculable influence over the orchestral music of the later nineteenth and early twentieth centuries. After Weimar, Liszt no longer had an orchestra at his ready command, and that is at least one reason why his orchestral output is much slenderer in his final period. But at the time he was completing the Cantico he was working on a thirteenth and final symphonic poem whose subject was From the Cradle to the Grave, after a drawing by Mihály Zichy depicting three stages of existence: birth, the struggle for being, and death—the cradle of the life to come. Zichy’s actual title was Du berceau jusqu’au cercueil (‘From the Cradle to the Coffin’), which would not have suited Liszt’s philo- sophical purpose at all.

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ChochoAngel 2022-07-23

魏玛期间，李斯特创作了12首交响诗，对19世纪后期和20世纪初的管弦乐发展产生了不可估量的影响。离开魏玛之后，李斯特不再有管弦乐队可以随时听从他的指挥，这也是他最后时期的管弦乐作品更为细腻的原因之一。但在他完成Cantico的时候，他正在创作第十三首也是最后一首交响诗，其主题是《从摇篮到坟墓》，这首交响诗根据Mihály Zichy的一幅画而创作，描绘了人类生存的三个阶段：“摇篮”、“斗争的一生”和“坟墓，正是下一世的摇篮”。Zichy画作的实际标题是Du berceau jusqu'au cercueil，但这其实不符合李斯特的哲学目的。

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