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Symphonic poemA symphonic poem or tone poem is a piece of orchestral music in a single continuous section (a movement) inwhich the content of a poem, a story or novel, a painting, a landscape or another (non-musical) source is illustratedor evoked. The term was first applied by Hungarian composer Franz Liszt to his 13 works in this vein. In its aestheticobjectives, the symphonic poem is in some ways related to opera; whilst it does not use a sung text, it seeks, likeopera, a union of music and drama.[1] [2]

While many symphonic poems may compare in size and scale to symphonic movements (or even reach the length ofan entire symphony), they are unlike traditional classical symphonic movements, in that their music is intended toinspire listeners to imagine or consider scenes, images, specific ideas or moods, and not to focus on followingtraditional patterns of musical form (e.g. sonata form). This intention to inspire listeners was a direct consequence ofRomanticism which encouraged literary, pictorial and dramatic associations in music. Musical works which attemptto inspire listeners in this way are often referred to as program music, while music which has no such associationsmay be called absolute music.Some piano and chamber works, such as Arnold Schoenberg's string sextet Verklärte Nacht, have similarities withsymphonic poems in their overall intent and effect. However, the term symphonic poem is generally accepted torefer to orchestral works. A symphonic poem may stand on its own, or it can be part of a series combined into asymphonic suite . For example, The Swan of Tuonela (1895) is a tone poem from Jean Sibelius's LemminkäinenSuite. A symphonic poem can also be part of a cycle of interrelated works, such as Vltava (The Moldau) as part ofthe six-work cycle Má vlast by Bedřich Smetana. Also, while the terms "symphonic poem" and "tone poem" haveoften been used interchangeably, some composers such as Richard Strauss and Jean Sibelius have preferred the latterterm for pieces which were less symphonic in design and in which there is no special emphasis on thematic or tonalcontrast.[3]

According to Macdonald, the symphonic poem met three 19th century aesthetic goals: it related music to outsidesources; it often combined or compressed multiple movements into a single principal section; and it elevatedinstrumental program music to an aesthetic level which could be regarded as equivalent to, or higher than opera.[2]

The symphonic poem remained popular from the 1840s until the 1920s, when the genre suffered a severe decline inpopularity.

BackgroundIn the second quarter of the 19th century, the future of the symphonic genre came into doubt. While many composerscontinued to write symphonies during the 1820s and 30s, "there was a growing sense that these works wereaesthetically far inferior to Beethoven's.... The real question was not so much whether symphonies could still bewritten, but whether the genre could continue to flourish and grow".[4] Felix Mendelssohn, Robert Schumann andNiels Gade achieved successes with their symphonies, putting at least a temporary stop to the debate as to whetherthe genre was dead.[4] Nevertheless, composers increasingly turned to the "more compact form" of the concertoverture "as a vehicle within which to blend musical, narrative and pictoral ideas"; examples included Mendelssohn'sovertures A Midsummer Night's Dream (1826) and The Hebrides (1830).[4]

Between 1845 and 1847, Franco-Belgian composer César Franck wrote an orchestral piece based on Victor Hugo'spoem Ce qu'on entend sur le montagne. The work exhibits characteristics of a symphonic poem, and somemusicologists, such as Norman Demuth and Julien Tiersot, consider it the first of its genre, preceding Liszt'scompositions.[5] [6] However, Franck did not publish or perform his piece; neither did he set about defining thegenre. Liszt's determination to explore and promote the symphonic poem gained him recognition as the genre'sinventor.[7]

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Liszt

Franz Liszt in 1858

The Hungarian composer Franz Liszt desired to expand single-movement worksbeyond the concert overture form.[8] The music of overtures is to inspire listenersto imagine scenes, images, or moods; Liszt intended to combine thoseprogrammatic qualities with a scale and musical complexity normally reservedfor the opening movement of classical symphonies.[3] The opening movement,with its interplay of contrasting themes under sonata form, was normallyconsidered the most important part of the symphony.[9] To achieve hisobjectives, Liszt needed a more flexible method of developing musical themesthan sonata form would allow, but one that would preserve the overall unity of amusical composition.[10] [11]

Liszt found his method through two compositional practices, which he used inhis symphonic poems. The first practice was cyclic form, a procedure establishedby Beethoven in which certain movements are not only linked but actually reflectone another's content.[12] Liszt took Beethoven's practice one step further,

combining separate movements into a single-movement cyclic structure.[12] [13] Many of Liszt's mature works followthis pattern, of which Les Préludes is one of the best-known examples.[13] The second practice was thematictransformation, a type of variation in which one theme is changed, not into a related or subsidiary theme but intosomething new, separate and independent.[13] As musicologist Hugh Macdonald wrote of Liszt's works in this genre,the intent was "to display the traditional logic of symphonic thought;"[8] that is, to display a comparable complexityin the interplay of musical themes and tonal 'landscape' to those of the Romantic symphony.

Thematic transformation, like cyclic form, was nothing new in itself. It had been previously used by Mozart andHaydn.[14] In the final movement of his Ninth Symphony, Beethoven had transformed the theme of the "Ode to Joy"into a Turkish march.[15] Weber and Berlioz had also transformed themes, and Schubert used thematictransformation to bind together the movements of his Wanderer Fantasy, a work that had a tremendous influence onLiszt.[15] [16] However, Liszt perfected the creation of significantly longer formal structures solely through thematictransformation, not only in the symphonic poems but in others works such as his Second Piano Concerto[15] [15] andhis Piano Sonata in B minor.[11] In fact, when a work had to be shortened, Liszt tended to cut sections ofconventional musical development and preserve sections of thematic transformation.[17]

While Liszt had been inspired to some extent by the ideas of Richard Wagner in unifying ideas of drama and musicvia the symphonic poem,[18] Wagner gave Liszt's concept only lukewarm support in his 1857 essay On theSymphonic Poems of Franz Liszt, and was later to break entirely with Liszt's Weimar circle over their aestheticideals.

Czech composersComposers who developed the symphonic poem after Liszt were mainly Bohemian, Russian, and French; the Bohemians and Russians showed the potential of the form as a vehicle for the nationalist ideas fomenting in their respective countries at this time.[8] Bedřich Smetana visited Liszt in Weimar in the summer of 1857, where he heard the first performances of the Faust Symphony and the symphonic poem Die Ideale.[19] Influenced by Liszt's efforts, Smetana began a series of symphonic works based on literary subjects—Richard III (1857-8), Wallenstein's Camp (1858-9) and Hakon Jarl (1860–61). A piano work dating from the same period, Macbeth a čarodějnice (Macbeth and the Witches, 1859), is similar in scope but bolder in style.[8] Musicologist John Clapham writes that Smetana planned these works as "a compact series of episodes" drawn from their literary sources "and approached them as a dramatist rather than as a poet or philosopher."[20] He used musical themes to represent specific characters; in this manner he more closely followed the practice of French composer Hector Berlioz in his choral symphony Roméo et

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Juliette than that of Liszt.[20] By doing so, Hugh Macdonald writes, Smetana followed "a straightforward pattern ofmusical description".[8]

Vyšehrad over the Vltava River, evokedmusically in the first poem of Smetana's Má vlast.

Smetana's set of six symphonic poems published under the general titleof Má vlast became his greatest achievements in the genre. Composedbetween 1872 and 1879, the cycle embodies its composer's personalbelief in the greatness of the Czech nation while presenting selectedepisodes and ideas from Czech history.[8] Two recurrent musicalthemes unify the entire cycle. One theme represents Vyšehrad, thefortress over the river Vltava whose course provides the subject matterfor the second (and best-known) work in the cycle; the other is theancient Czech hymn "Ktož jsú boží bojovníci" ("Ye who are God'swarriors") which unites the cycle's last two poems, Tábor andBlaník.[21]

While expanding the form to a unified cycle of symphonic poems, Smetana created what Macdonald terms "one ofthe monuments of Czech music"[22] and, Clapham writes, "extended the scope and purpose of the symphonic poembeyond the aims of any later composer".[23] Clapham adds that in his musical depiction of scenery in these works,Smetana "established a new type of symphonic poem, which led eventually to Sibelius's Tapiola".[24] Also, inshowing how to apply new forms for new purposes, Macdonald writes that Smetana "began a profusion ofsymphonic poems from his younger contemporaries in the Czech lands and Slovakia", including Antonín Dvořák,Zdeněk Fibich, Leoš Janáček and Vítězslav Novák.[22]

Dvořák wrote two groups of symphonic poems, which date from the 1890s. The first, which Macdonald variouslycalls symphonic poems and overtures,[22] forms a cycle similar to Má vlast, with a single musical theme runningthrough all three pieces. Originally conceived as a trilogy to be titled Příroda, Život a Láska (Nature, Life and Love),they appeared instead as three separate works, V přírodě (In Nature's Realm), Carnival and Othello.[22] The score forOthello contains notes from the Shakespeare play, showing that Dvořák meant to write it as a programmaticwork;[25] however, the sequence of events and characters portrayed does not correspond to the notes.[22]

The second group of symphonic poems comprises five works. Four of them—The Water Goblin, The Noon Witch,The Golden Spinning Wheel and The Wild Dove—are based on poems from Karel Jaromír Erben's Kytice (Bouquet)collection of fairy tales.[22] [25] In these four poems, Dvořák assigns specific musical themes for important charactersand events in the drama.[25] For The Golden Spinning Wheel, Dvořák arrived at these themes by setting lines fromthe poems to music.[22] [25] He also follows Liszt and Smetana's example of thematic transformation,metamorphosing the king's theme in The Golden Spinning Wheel to represent the wicked stepmother and also themysterious, kindly old man found in the tale.[25] Macdonald writes that while these works may seem diffuse bysymphonic standards, their literary sources actually define the sequence of events and the course of the musicalaction.[22] Clapham adds that while Dvořák may follow the narrative complexities of The Golden Spinning Wheeltoo closely, "the lengthy repetition at the beginning of The Noon Witch shows Dvořák temporarily rejecting a preciserepresentation of the ballad for the sake of an initial musical balance".[25] The fifth poem, Heroic Song, is the onlyone not to have a detailed program.[22]

RussiaThe development of the symphonic poem in Russia, as in the Czech lands, stemmed from an admiration for Liszt's music and a devotion to national subjects.[22] Added to this was the Russian love of story-telling, for which the genre seemed expressly tailored,[22] and which led critic Vladimir Stasov to write, "Virtually all Russian music is programmatic".[26] Macdonald writes that Stasov and the patriotic group of composers known as The Five or The Mighty Handful, went so far as to hail Mikhail Glinka's Kamarinskaya as "a prototype of Russian descriptive

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music"; despite the fact that Glinka himself denied the piece had any program,[22] he called the work, which is basedentirely on Russian folk music, "picturesque music."[27] In this Glinka was influenced by French composer HectorBerlioz, whom he met in the summer of 1844.[27]

Hans Baldung Grien, Witches, woodcut, 1508.Mussorgsky's Night on Bald Mountain was meant

to evoke a witches' sabbath.

At least three of the Five fully embraced the symphonic poem. MilyBalakirev's Tamara (1867–82) richly evokes the fairy-tale orient and,while remaining closely based on the poem by Mikhail Lermontov,remains well-paced and full of atmosphere.[22] Balakirev's other twosymphonic poems, In Bohemia (1867, 1905) and Russia (1884 version)lack the same narrative content; they are actually looser collections ofnational melodies and were originally written as concert overtures.Macdonald calls Modest Mussorgsky's Night on Bald Mountain andAlexander Borodin's In the Steppes of Central Asia "powerfulorchestral pictures, each unique in its composer's output".[22] Titled a"musical portrait", In the Steppes of Central Asia evokes the journey ofa caravan across the steppes.[28] Night on Bald Mountain, especially itsoriginal version, contains harmony that is often striking, sometimespungent and highly abrasive; its initial stretches especially pull thelistener into a world of uncompromisingly brutal directness andenergy.[29]

Nikolai Rimsky-Korsakov wrote only two orchestral works that rank assymphonic poems, his "musical tableau" Sadko (1867–92) and Skazka(Legend, 1879–80), originally titled Baba-Yaga. While this may

perhaps be surprising, considering his love for Russian folklore, both his symphonic suites Antar and Sheherazadeare conceived in a similar manner to these works. Russian follklore also provided material for symphonic poems byAlexander Dargomyzhsky, Anatoly Lyadov and Alexander Glazunov. Glazunov's Stenka Razin and Lyadov'sBaba-Yaga Kikimora and The Enchanted Lake are all based on national subjects.[22] The Lyadov works' lack ofpurposeful harmonic rhythm (a absence less noticeable in Baba-Yaga and Kikimora due to a superficial but stillexhilarating bustle and whirl) produces a sense of unreality and timelessness much like the telling of an oft-repeatedand much loved fairy tale.[30]

While none of Pyotr Ilyich Tchaikovsky's symphonic poems has a Russian subject, they hold musical form andliterary material in fine balance.[22] (Tchaikovsky did not call Romeo and Juliet a symphonic poem but rather a"fantasy-overture", and the work may actually be closer to a concert overture in its relatively stringent use of sonataform. It was the suggestion of the work's musical mid-wife, Balakirev, to base Romeo structurally on his King Lear,a tragic overture in sonata form after the example of Beethoven's overtures.)[31]

Among later Russian symphonic poems, Sergei Rachmaninoff's The Rock shows as much the influence ofTchaikovsky's work as Isle of the Dead (1909) does its independence from it. A similar debt to his teacherRimsky-Korsakov imbues Igor Stravinsky's The Song of the Nightingale, excerpted from his opera The Nightingale.Alexander Scriabin's Poem of Ecstasy (1905–08) and Prometheus: The Poem of Fire (1908–10), in their projectionof an egocentric theosophic world unequalled in other symphonic poems, are notable for their detail and advancedharmonic idiom.[22]

Socialist realism in the Soviet Union allowed program music to survive longer there than in western Europe, astypified by Dmitri Shostakovich's symphonic poem October (1967).[21]

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France

Michael Wolgemut, The Dance of Death (1493)from the Liber chronicarum by Hartmann

Schedel, evoked musically in Saint-Saëns' Dansemacabre.

While France was less concerned than other countries withnationalism,[32] it still had a well-established tradition of narrative andillustrative music reaching back to Berlioz and Félicien David. For thisreason, French composers were attracted to the poetic elements of thesymphonic poem. In fact, César Franck had written an orchestral piecebased on Hugo's poem Ce qu'on entend sur le montagne before Lisztdid so himself as his first numbered symphonic poem.[33]

The symphonic poem came into vogue in France in the 1870s,supported by the newly-founded Société Nationale and its promotionof younger French composers. In the year after its foundation, 1872,Camille Saint-Saëns composed his Le rouet d'Omphale, soon followingit with three more, the most famous of which became the Dansemacabre (1874).[33] In all four of these works Saint-Saënsexperimented with orchestration and thematic transformation. Lajeunesse d'Hercule (1877) was written closest in style to Liszt. The other three concentrate on some physicalmovement—spinning, riding, dancing—which is portrayed in musical terms. He had previously experimented withthematic transformation in his program overture Spartacus; he would later use it in his Fourth Piano Concerto andThird Symphony.[34]

After Saint-Saëns came Vincent d'Indy. While d'Indy called his trilogy Wallenstein (1873, 1879–81) "threesymphonic overtures", the cycle is similar to Smetana's Má vlast in overall scope. Henri Duparc's Lenore (1875)displayed a Wagnerian warmth in its writing and orchestration. Franck wrote the delicately evocative Les Eolides,following it with the narrative Le chasseur maudit and the piano-and-orchestral tone poem Les Djinns, conceived inmuch the same manner as Liszt's Totentanz. Ernest Chausson's Vivane illustrates the penchant shown by the Franckcircle for mythological subjects.[33]

Frontispiece for L'après-midi d'un faune, drawingby Édouard Manet.

Claude Debussy's Prélude à l'après-midi d'un faune (1892-4), intendedinitially as part of a triptych, is, in the composer's words, "a very free ...succession of settings through which the Faun's desires and dreamsmove in the afternoon heat." Paul Dukas' The Sorcerer's Apprenticefollows the narrative vein of symphonic poem, while Maurice Ravel'sLa Valse (1921) is considered by some critics a parody of Vienna in anidiom no Viennese would recognize as his own.[33] Albert Roussel'sfirst symphonic poem, based on Leo Tolstoy's novel Resurrection(1903), was soon followed by Le Poème de forêt (1904-6), which is infour movements written in cyclic form. Pour une fête de printemps(1920), initially conceived as the slow movement of his Second

Symphony. Charles Koechlin also wrote several symphonic poems, the best known of which are included in hiscycle based on The Jungle Book by Rudyard Kipling.[33] Through these works, he defended the viability of thesymphonic poem long after it had gone out of vogue.[35]

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Germany

Honoré Daumier, Painting of Don Quixote,c.1855-1865

Both Liszt and Richard Strauss worked in Germany, but while Lisztmay have invented the symphonic poem and Strauss brought it to itshighest point,[33] [36] overall the form was less well received there thanin other countries. Johannes Brahms and Richard Wagner dominatedthe German musical scene, and neither man wrote symphonic poems;instead, they devoted themselves completely to music drama (Wagner)and absolute music (Brahms). Therefore, other than Strauss andnumerous concert overtures by others, there are only isolatedsymphonic poems by German and Austrian composers—Hans vonBülow's Nirwana (1866), Hugo Wolf's Penthesilea (1883-5) and Arnold Schoenberg's Pelleas und Melisande(1902-3). Because of its clear relationship between poem and music, Schoenberg's Verklärte Nacht (1899) for stringsextet has been characterised as a non-orchestral 'symphonic poem'.[33]

Alexander Ritter, who himself composed six symphonic poems in the vein of Liszt's works, directly influencedRichard Strauss in writing program music. Strauss wrote on a wide range of subjects, some of which had beenpreviously considered unsuitable to be set to music, including literature, legend, philosophy and autobiography. Thelist includes Macbeth (1886—7), Don Juan (1888—9), Tod und Verklärung (Death and Transfiguration, 1888–9),Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks, 1894–95), Also sprach Zarathustra (ThusSpoke Zoroaster, 1896), Don Quixote (1897), Ein Heldenleben (A Hero's Life, 1897–98), Symphonia Domestica(Domestic Symphony, 1902–03) and Eine Alpensinfonie (An Alpine Symphony, 1911–1915).)[33]

In these works, Strauss takes realism in orchestral depiction to unprecedented lengths, widening the expressivefunctions of program music as well as extending its boundaries.[33] Because of his virtuosic use of orchestration, thedescriptive power and vividness of these works is extremely marked. He usually employs a large orchestra, oftenwith extra instruments, and he often uses instrumental effects for sharp characterization, such as portraying thebleating of sheep with cuivré brass in Don Quixote.[37] Strauss's handling of form is also worth noting, both in hisuse of thematic transformation and his handling of multiple themes in intricate counterpoint. His use of variationform in Don Quixote is handled exceptionally well,[37] as is his use of rondo form in Till Eulenspiegel.[37] As HughMacdonald points out in the New Grove (1980), "Strauss liked to use a simple but descriptive theme—for instancethe three-note motif at the opening of Also sprach Zarathustra, or striding, vigorous arpeggios to represent the manlyqualities of his heroes. His love themes are honeyed and chromatic and generally richly scored, and he is often fondof the warmth and serenity of diatonic harmony as balm after torrential chromatic textures, notably at the end of DonQuixote, where the solo cello has a surpassingly beautiful D major transformation of the main theme."[37]

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Other countries and decline

Jean Sibelius

Jean Sibelius showed a great affinity for the form, writing well over a dozensymphonic poems and numerous shorter works. These works span his entirecareer, from En Saga (1892) to Tapiola (1926), expressing more clearly thananything else his identification to Finland and its mythology. The Kalevalaprovided ideal episodes and texts for musical setting; this coupled withSibelius's natural aptitude for symphonic writing allowed him to write taut,organic structures for many of these works, especially Tapiola (1926).Pohjola's Daughter (1906), which Sibelius called a "symphonic fantasy", isthe most closely dependent on its program while also showing a sureness ofoutline rare in other composers.[37] With the compositional approach he tookfrom the Third Symphony onward, Sibelius sought to overcome thedistinction between symphony and tone poem to fuse their most basicprinciples—the symphony's traditional claims of weight, musical abstraction,gravitas and formal dialogue with seminal works of the past; and the tonepoem's structural innovation and spontaneity, identifiable poetic content andinventive sonority. However, the stylistic distinction between symphony, "fantasy" and tone poem in Sibelius's lateworks becomes blurred since ideas first sketched for one piece ended up in another.[38]

The symphonic poem did not enjoy as clear a sense of national identity in other countries, even though numerousworks of the kind were written. Composers included Arnold Bax and Frederick Delius in Great Britain; EdwardMacDowell, Howard Hanson, Ferde Grofe and George Gershwin in the United States; Carl Nielsen in Denmark; andOttorino Respighi in Italy. Also, with the rejection of Romantic ideals in the 20th century and their replacement withideals of abstraction and independence of music, the writing of symphonic poems went into decline.[37]

In the cinemaMany symphonic poems have entered popular culture through their use in media and film as early as the 1930s, withErich Wolfgang Korngold's use of excerpts from Liszt's Mazeppa in the Errol Flynn movie Captain Blood and arecurrent use of Les Préludes in the Flash Gordon serial. Other works used have included Richard Strauss's AlsoSprach Zarathustra (in 2001), and Paul Dukas's The Sorcerer's Apprentice (in Walt Disney's Fantasia).

References[1] Sadie, New Grove (1980), 13:544–545.[2] Macdonald, New Grove (1980), 18:428.[3] Spencer, P., 1233[4] Bonds, New Grove (2001), 24:837-8[5] Ulrich, 228.[6] Murray, 214.[7] Macdonald, New Grove (2001), 24:802, 804; Trevitt and Fauquet, New Grove (2001), 9:178, 182.[8] Macdonald, New Grove (1980), 18:429.[9] Larue and Wolf, New Grove (2001), 24:814–815.[10] Searle, New Grove (1980), 11:41.[11] Searle, Works, 61.[12] Walker, Weimar, 357.[13] Searle, "Orchestral Works", 281.[14] Macdonald, New Grove (1980), 19:117.[15] Walker, Weimar, 310.[16] Searle, Music, 60–61.[17] Walker, Weimar, 323 footnote 37.

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[18] 'Wagner’s Faust Overture (1840, revised 1855) had an important formative influence on Liszt and indicates how closely Wagner’simaginative world might have approached the symphonic poem had he not devoted himself so single-mindedly to music drama'. Macdonald,New Grove (1980), 18:429.

[19] Clapham, New Grove (1980), 17:392, 399.[20] Clapham, New Grove (1980), 17:399.[21] Macdonald, New Grove (1980), 18:429-30.[22] Macdonald, 18:430.[23] Clapham, New Grove (1980), 17:399–400.[24] Clapham, New Grove (1980), 17:400.[25] Clapham, New Grove (1980), 5:779.[26] As quoted in Macdonald, New Grove (1980) 18:430.[27] Maes, 27.[28] Barnes, New Grove (1980), 3:59.[29] Brown, Mussorgsky, 92.[30] Spencer, J., 11:384.[31] Maes, 64, 73.[32] Spencer, 1233[33] Macdonald, 18:431.[34] Fallon and Ratner, New Grove 2, 22:127.[35] Orledge, 10:146.[36] Spencer, 1234.[37] Macdonald, New Grove (1980), 18:432.[38] Hepokoski, New Grove 2, 23:334.

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Article Sources and Contributors 10

Article Sources and ContributorsSymphonic poem  Source: http://en.wikipedia.org/w/index.php?oldid=432336150  Contributors: Abductive, Adeliine, After Midnight, Alvinwc, Anakin101, Antandrus, Axewiki, BlueMoonlet,Bob Burkhardt, BookSquirrel, Brianrein, Camembert, Casadesus, Chinasaur, Closedmouth, Colonies Chris, Cremepuff222, Dale Arnett, Danarmak, Dano37, David Martland, David Sneek,DavidRF, Delicious Manager, Djc wi, Docu, EaFriendly, Elita equine, Epolk, Erianna, Eugene van der Pijll, Ewulp, FordPrefect42, Funper, Gwalla, Henry Lind, Hi878, Hojmatt, Hrdinský,Iamunknown, IdiotSavant, Ipigott, J04n, JHunterJ, JIP, JackofOz, Jafeluv, JamesBurns, Jappalang, Jonyungk, K. Lastochka, Krich, Landon1980, LeonMello, Leonard Vertighel, Lethesl, Leujohn,Leuqarte, Linkracer, Luk, M A Mason, Martin Kozák, Melodia, Michael Snow, Michal Nebyla, Michellebryan, Missmarple, Mllefifi, Modernist, Monty845, Museslave, NB1973, Nigel Keay,Nrswanson, Pavel Vozenilek, Puchiko, PuzzletChung, QueenCake, RandomP, RedHillian, Redheylin, Reuben, Rich Farmbrough, Rigadoun, RiverRubicon, Rjwilmsi, RobertG, Robertgreer,Rpeh, Santiparam, Schweiwikist, SidP, Sjones23, Sketchee, Smerus, Sstrader, TBHecht, Tanner Swett, Tarosan, Teacup, Theavex, Timneu22, Tjmayerinsf, Tomal56, Tomaxer, Vantelimus,Vejvančický, Vic rattlehead, Violncello, Wetman, Wiccan Quagga, Yanekm, 151 ,هدنهاش.ع anonymous edits

Image Sources, Licenses and ContributorsImage:Liszt 1858.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Liszt_1858.gif  License: Public Domain  Contributors: K. LastochkaImage:Vysehrad as seen over the Vltava from Cisarska louka 732.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Vysehrad_as_seen_over_the_Vltava_from_Cisarska_louka_732.jpg  License: Public Domain  Contributors: User:Miaow MiaowImage:Baldung Hexen 1508 kol.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Baldung_Hexen_1508_kol.JPG  License: Public Domain  Contributors: GeorgHH, Historiograf,Huntster, Mattes, Thuresson, Warburg, Wmpearl, Wolfmann, Wouterhagens, 1 anonymous editsImage:Holbein-death.png  Source: http://en.wikipedia.org/w/index.php?title=File:Holbein-death.png  License: Public Domain  Contributors: Aavindraa, Aristeas, Bullenwächter, Dvulture,G.dallorto, Goldfritha, Historiograf, Lillyundfreya, Mattes, Sturm, Ustas, Wolfmann, 1 anonymous editsImage:Manet faune.gif  Source: http://en.wikipedia.org/w/index.php?title=File:Manet_faune.gif  License: Public Domain  Contributors: Ardfern, David Sneek, MuImage:Quixote03.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Quixote03.jpg  License: Public Domain  Contributors: Adam Faanes, ModernistImage:Jean sibelius.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Jean_sibelius.jpg  License: Public Domain  Contributors: -Majestic-, AndreasPraefcke, Martin H., Polarlys,とある白い猫, 汲平

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