The musicologist Mark Bonds suggests that in the second quarter of the 19th century, the future of the symphonic genre seemed uncertain.While many composers continued to write symphonies during the 1820s and 30s, "there was a growing sense that these works were aesthetically far inferior to Beethoven's....The symphonic poem remained a popular composition form from the 1840s until the 1920s, when composers began to abandon the genre.Some piano and chamber works, such as Arnold Schoenberg's string sextet Verklärte Nacht, have similarities with symphonic poems in their overall intent and effect.
Liszt found his method through two compositional practices, which he used in his symphonic poems.
The real question was not so much whether symphonies could still be written, but whether the genre could continue to flourish and grow".
Nevertheless, composers began to explore the "more compact form" of the concert overture "..a vehicle within which to blend musical, narrative and pictoral ideas." Examples included Mendelssohn's overtures A Midsummer Night's Dream (1826) and The Hebrides (1830).
From 1988 to 1999, he served on our Board of Chancellors, and over the years, Ashbery participated in numerous Academy of American Poets events, including readings at the Morgan Library and the 92nd Street Y in New York City.
In honor of Ashbery, and his important contributions to American poetry, we've gathered a collection of his poems, historic recordings of the poet reading his work, photographs from our archive, and more.
Ashbery had a long history with the Academy of American Poets, dating back to the 1960s when he read in our series at the Guggenheim Museum in New York City.