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The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction. As Hugh MacDonald points out in the ''New Grove Dictionary of Music and Musicians'', "In the years prior to World War I these works were held to be in the vanguard of modernism."〔MacDonald, ''New Grove (2001)'', 24:805.〕 ==List (in order of composition)== * ''Aus Italien'', Op. 16 (1886) * ''Don Juan'', Op. 20 (1888) * ''Macbeth'', Op. 23 (1888) * ''Death and Transfiguration'', Op. 24 (1889) * ''Till Eulenspiegel's Merry Pranks'', Op. 28 (1895) * ''Also sprach Zarathustra'', Op. 30 (1896) * ''Don Quixote'', Op. 35 (1897) * ''Ein Heldenleben'', Op. 40 (1898) * ''Symphonia Domestica'', Op. 53 (1903) * ''An Alpine Symphony'', Op. 64 (1915) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tone poems (Strauss)」の詳細全文を読む スポンサード リンク
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