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Orchestral song
The orchestral song (German ') is a late romantic genre of classical music for solo voices and orchestra.
==History==
What was effectively song with instrumental accompaniment – the cantata and the aria – had been part of music since the early baroque. Beethoven and Schumann too had occasionally provided instrumental accompaniment to some songs. Full orchestration, to enable a song to "hold its own" in a 19th-century concert environment, developed from the 1840s.〔''The Song Cycle'', p. 64, Laura Tunbridge (2011). "The orchestral song has a complicated genealogy. There were ... In order to hold their own against the larger-scale works, Lieder needed to be amplified; automatically achieved through the addition of instrumental accompaniment. This would ..."〕 Among the earliest experiments with orchestral song are those of Liszt who orchestrated several of his songs in the 1840s but did not publish them. Liszt also had the operetta composer August Conradi orchestrate his ''Le juif errant'' and ''Jeanne d'Arc'' around 1848, but these too were neither published nor performed. Long after Berlioz' publication of his orchestrations of ''Les nuits d'été'' in 1856, Liszt finally published his own orchestration of ''Jeanne d'Arc au bûcher,'' as a dramatic scene for voice and orchestra in 1874.〔''The Liszt Companion'', p. 433, Ben Arnold (2002). "Szitha concluded, "Though Le juif errant was never published and Jeanne d'Arc only in a late 1874 variant, the two pieces bear out that back in the latter half of the 1840s Liszt was already experimenting with the genre of the orchestral song."〕〔''German Lieder in the Nineteenth Century'', p. 299. Rufus E. Hallmark (2010). "It is often said that with the Lieder eines fahrenden Gesellen Mahler established the genre of the orchestral song cycle, but it was an idea whose time was certainly ripe, ..."〕 The form was brought to fruition by Mahler, to the extent that it is difficult to say where Mahler's symphonies end and where his symphonic songs begin.〔''San Francisco Symphony playbill'', San Francisco Symphony Orchestra (1999). "The genre of the orchestral song came into vogue throughout Europe in the years just before the turn of the century. Mahler, who gave such compositions the full stature of symphonic movements, provides the most spectacular examples, but French composers were quite as enthusiastic. Often their melodies were composed all-but-simultaneously in two ..."〕
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