Symphonic Poem No. 3: Les Preludes, S. 97 Cover Image

Symphonic Poem No. 3: Les Preludes, S. 97: Full Orchestra, Conductor Score & Parts

$125.00 USD
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Symphonic Poem No. 3: Les Preludes, S. 97 Cover Image

Symphonic Poem No. 3: Les Preludes, S. 97: Full Orchestra, Conductor Score & Parts

By Franz Liszt, ed./arr. by Otto Taubmann

Item: 36-A163802

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Description
Hungarian virtuoso pianist and composer Franz Liszt (1811-1886) began to develop the concept of the symphonic poem (symphonische dichtung; poème symphonique) following his 1847 retirement from concert performances at the piano and settlement in Weimar. The Western music world was entrenched in a debate about non-programmatic versus programmatic music and the future of the symphonic form. Liszt's symphonic poems put him firmly in the programmatic camp, while he also adapted Beethoven's cyclic form so that the entire work could be contained in a single movement. His SYMPHONIC POEM No. 3: LES PRÉLUDES ("Preludes" or "The Beginnings"), S. 97 is the actual first use of the term "symphonic poem." It was originally intended as an overture for a choral cycle titled LES QUATRE ÉLÉMENS ("The Four Elements"), based on four poems by Joseph Autran. When the overture concept was abandoned for the symphonic poem, the inspiration also changed to an ode by the French poet Alphonse de Lamartine, also titled LES PRÉLUDES, resulting in some confusion about the programmatic inspiration. Further controversy resulted from Liszt's recruitment of composer Joachim Raff to help assist Liszt in orchestration, and area of weakness the great pianist. Despite later research proving that Liszt had a dominant hand and final say in all orchestration matters, often rejecting or modifying Raff's proposals, Raff's public proclamations that he was responsible for the orchestration created doubts about Liszt's role in that for decades. The work premiered in Weimar on February 23, 1854, Liszt himself conducting, and it has remained the most popular of his symphonic poems in the orchestral repertoire, performed frequently today. Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
UPC: 659359868511
SKU: 36-A163802
Instrumentation: 3(3rd dPicc).2.2.2: 4.2.3.1: Timp.Perc(2-3): Hp: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Franz Liszt

Franz Liszt (1811-1886) was a Hungarian pianist and composer whose technical brilliance at the keyboard made him one of the most celebrated performers of the nineteenth century. After stepping away from concert performance in 1847, he settled in Weimar and channeled his virtuosic sensibility into orchestral composition, developing the symphonic poem as a vehicle for programmatic storytelling within the single-movement form. His work bridged Romanticism and modernism, influencing generations of composers who followed.

Why we love this

Les Préludes stands as the definitive symphonic poem, merging dramatic program content with structural coherence in ways that challenge orchestras to balance narrative sweep with musical architecture. The work demands sophisticated orchestral control, idiomatic writing across all sections, and genuine ensemble musicianship, making it an ideal capstone for advanced programs seeking to program a major Romantic-era work that audiences recognize and musicians find genuinely rewarding to perform.

What to expect

Les Préludes unfolds as a journey through heroic aspiration, pastoral reflection, and ultimately triumph, with Liszt's lush orchestration painting vivid harmonic landscapes. The writing conveys both intimate vulnerability and grand, sweeping momentum, drawing listeners into a narrative that feels simultaneously timeless and deeply Romantic.

Who it's for

Conductors leading advanced orchestras, conservatory ensembles, or semi-professional groups ready to tackle a cornerstone of the symphonic repertoire. The work requires solid musicianship across all sections, disciplined rhythm players, and ensemble maturity, making it suited for programs with developed string sections and experienced wind players.

How to get the most out of it

  • Shape the famous principal theme with careful dynamic control in the strings; the melody's nobility emerges from clarity and forward motion rather than aggressive projection.
  • Establish a clear structural hierarchy among the multiple key areas and thematic statements so listeners follow the programmatic arc without losing musical coherence.
  • Balance the substantial percussion and harp parts so they enhance harmonic color and dramatic moments without overwhelming the melodic content, particularly in the full-orchestra passages.
  • Conduct the cyclic transformations of the main theme with visible architectural purpose; each return should feel like a new dramatic chapter rather than a mere repetition.

How to use it

Program this as a centerpiece concert work or the dramatic climax of a Romantic-era showcase, paired with shorter orchestral selections to provide contrast and variety. It works particularly well when paired with other Liszt orchestral works or as a window into nineteenth-century attitudes toward program music and symphonic form.

Skills your students will build

  • Reading and executing complex, lyrical orchestral scoring with sophisticated harmonic language
  • Balancing transparent texture in dialogues between solo and tutti instruments
  • Conducting and managing thematic transformation and cyclic form across a single large movement
  • Coordinating precise rhythm and ensemble attacks in large-scale, fast-moving orchestral passages
  • Shaping musical narrative across extended form without relying on traditional multi-movement structures

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