打下李斯特烙印的“交响诗”概念——粗略地并从首要层面来说——说明了:它一方面涉及到带有交响乐需要的体裁,另一方面涉及到作品这种应该被理解为用乐音写成的诗歌(Dichtungen in Toenen)。诗意的理念没有音乐的形式原则也会难以被理解,反过来,没有诗意理念的音乐原则也同样如此,以这一想法作为出发点是可以接受的。 通过要求在体裁系统中占有与交响乐并列的一席之地,交 The concept of Liszt branded “symphonic poem” - crudely and on the first level - shows that on the one hand it relates to genres with symphony needs and on the other hand to works that should be understood as using Dichtungen in Toenen. The poetic concept can not be understood without the formal principle of music. In turn, the same is true of the musical principle without the poetic idea, and taking this as a starting point is acceptable. By asking for a place in the genre system that is tied to the symphony, pay