it was the material first composed for the piano piece. Mazeppa begins similarly to the piano version, but it has an extended introduction. The composer follows Hugo's narrative, describing the hero's journey through the vast steppes in the first movement. The melodies within symphonic poems are of the highest importance, as they express the emotions experienced by the characters within the story. The string section plays the main theme, which is inserted below. This them is expounded upon throughout the work as Mazeppa, the character, experiences differing situations and emotions. This theme is transformed and distorted with six strokes of the timpani that evoke the fall of the rider at the end of section one, the ride. After a silence, strings, bassoon and horn soloists express astonishment of the injured, raised by the trumpets at Allegro Marziale. Mazeppa and his cossacks are placed in front of the army (a march is heard) and the return of the hero's theme signifies his end in glory. Criticism Mazeppa evoked great criticism compared to the other symphonic poems of Liszt. The , an Austrian magazine on music, published this review after a performance in Leipzig on April 16, 1857: Mazeppa was but faintly applauded. After hearing both of these much- talked-of works with our own ears, we, also, are cured of the erroneous idea that they are something special, something we never heard before, something immense. They may be listened to very well with other things. Berlioz has made my head ache much more. People, however, must not allow themselves to be persuaded that they are music with any claims to importance, or destined to enjoy a great future. References Notes Sources Further reading External links Symphonic poems by Franz Liszt 1851 compositions Cultural depictions of Ivan Mazepa