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         FRA [1835-1921]Group: Progressive Short description: Works are technically difficult and transparent. Defended Liszt, Wagner, Meyerbeer, Berlioz. Fighted Debussy, Strauss. Later chamber music is more experimental, progressive, abandons lyricism and charm for more profound expression. His piano music is between Liszt and Ravel. Rejected to publish humorous Carnaval of animals until his death. Creativity does not keep pace with his technical skill. His incomparable talent for orchestration enables him to give relief to ideas which would otherwise be crude and mediocre in themselves. His works are on the one hand not frivolous enough to become popular in the widest sense, nor on the other do they take hold of the public by that sincerity and warmth of feeling which is so convincing. Deeply aware of the great masters of the past: Rameau, Bach, Handel, Mozart, Haydn. Makes his effects more by characterful harmony and rhythms than by extravagant scoring. An occasional tendency to neoclassicism, influenced by his study of French baroque music, is in contrast with the colourful orchestral music more widely identified with him. Less attracted than some of his French contemporaries to the continuous stream of music popularised by Wagner, he often favoured self-contained melodies. Though they are frequently supple and pliable, more often than not they are constructed in three- or four-bar sections, and the phrase pattern AABB is characteristic. Rhythmically, he inclined to standard double, triple or compound metres. Master of counterpoint.  Played 40 of 40 tracks for this composer (total 902 answers). Played blocks map: The script ran 0.003 seconds . | ||||
