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Music in the Romantic Era 1825-1900 ***adapted from Raleigh Charter High School Ludwig Von Beethoven 1770-1827 Crucial figure in the transition from Classical to Romantic Romantic period began around 1815. Works from this period are characterized by their intellectual depth, their formal innovations, and their intense, highly personal expression. For example, the String Quartet, Opus 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement. French Revolution Ideals: Liberté, Egalité, Fraternité Romantic times stressed: Individuality, Emotion, Imagination Importance of nature. Romantics idealized nature in both visual art and music for its power, beauty and unpredictability Social and Political Influences Industrialism Occurred first in Britain Power shifted from aristocratic landowners to middle class city dwellers. Populations moved from an agrarian center to an urban center. Inventions Nationalism and the Spread of Democracy One of the most meaningful and definitive forces in the 19th century Throughout Europe people began to promote their own national identities and resist outside authority. This push for national identity created new countries (unification of Italy, formation of German empire, United States). The principles and practices of democracy were on the rise. Napoleon Bonaparte After the defeat of Napoleon in 1815, the monarchy was restored in France and the old aristocratic order returned. Revolutionary fervor and optimism gave way to disbelief and dissatisfaction and romanticism to a more realistic view of the world. People yearned for reform and a new society. The Arts in the Romantic Period – Stressed Individualism and Emotion – Breaking away from rules and convention – Glorification of Nature – Nostalgia – The Macabre and the supernatural – Exotic Influences – Realism Literature and Writing Friedrich von Schiller (1759-1805) Johann Wolfgang von Goethe (1749-1832) Romanticism was born towards the end of the 18th century with the works of these two great German writers. Goethe wrote poetry, novels and plays; Schiller was a playwright. Both of their writings were used to express romantic fascination with emotion, life and death, sin and redemption, guilt and selflessness. Victor Hugo (1802-1885) French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist Explored the Romantic theme of conflict between the individual and society Les Miserables, 1862 Charles Dickens (1812-1870) English novelist and social campaigner Novels are works of social commentary Fierce critic of poverty and social stratification Karl Marx (1818-1883) German philosopher and economist The ideas of Marx, while most influential in the 20th century , said that the history of society is one of struggle between the ruling class (capitalists) and the working class (proletariat) who are being exploited. He predicted a revolution. He believed in a society in which all people give according to their means and take according to their needs.” Charles Darwin (1809-1882) In On the Origin of Species, Darwin argued that all species of life on earth, whether human, animal or plant, were the result of what he called “natural selection”. He coined the phrase “survival of the fittest” to explain why some species continue to exist while others die out. He believed that man was simply the end of a long chain of organisms that stretched back to the first forms of life. This theory challenged not only religion but also had social repercussions. Visual Art Architecture Sculpture Painting Architecture The Romantic period did not produce its own distinguishing architectural style. Instead architects chose from the building styles of the previous eras resulting in an eclectic style House of Parliament, London, Gothic Revival Royal Pavilion, Brighton, England, Eastern culture The British Museum, Greek Revival Opera Garnier, Paris, Neo-Baroque A few buildings erected during the period showed how the Industrial Revolution had affected architecture. Crystal Palace, London, made for World’s Fair 1851 Tour Eiffel, Paris Sculpture Francois Rude (1784-1855) Arc de Triomphe “Departure of the Volunteers” Auguste Rodin (1840-1917) The Burghers of Calais The Thinker Painting Eugene Delacroix (1798-1863) Leader of the Romantic movement, represented social concerns Liberty Leading the People, 1831 Camille Corot (1796-1875) View Near Volerra, 1838 Art Song and Song Cycle Lieder, chansons, art songs Compositions for solo voice and piano Poetry and music are intimately fused Typical forms used: strophic and throughcomposed Franz Schubert (1787-1828) Austrian composer Prolific and gifted composer who wrote 600 lieder, piano sonatas, character pieces, 15 string quartets, 9 symphonies Erlkönig (1815) poem by Johann Wolfgang von Goethe Through-composed form Clara Wieck Schumann (1819-1896) German composer and pianist Married Robert Schumann and premiered many of his piano compositions Composed a piano concerto, piano trio, solo piano pieces and songs Romance Robert Schumann (1810-1856) German Composer Married to Clara Weick Schumann Music Critic & Co-Founder of “New Journal for Music” Suffered from Mental Illness Album for the Young Scenes from Childhood Carnaval Fantasiestuck Music Musical Milieu Public and Subscription Concerts Founding of Conservatories Composer Composers gradually left the patronage system and became free agents of their own works. This meant that the composer, their music and their livelihood depended on the public’s approval. For the first time, a composer’s work might not be publicly performed during his or her lifetime. Romantics saw themselves as outsiders, isolated from mainstream society, struggling to express their creative ideas. In general, composers held higher social status than in the Classical period. Performer Rise of virtuosic performers the public was captured by virtuosity and showmanship Niccolo Paganini Franz Liszt Franz Liszt (1811-1886) Hungarian composer and virtuosic pianist Showman Daughter married Wagner Innovative composer both harmonically and formally. Used complex and unusual chords Created the symphonic poem and utilized thematic transformation (influenced Wagner) Composed two symphonies, symphonic poems, piano music, orchestral and operatic transcriptions Transcendental Etude No. 10 in F Minor, 1851 Frédéric Chopin (1810-1849) Polish composer and pianist Lived in Paris for most of his life Associated with George Sand (Aurore Dudevant) The only major composer to have completely oriented his creative life around the piano. Piano compositions are generally dances or free-form works (preludes, etudes, nocturnes and impromptus). Nocturne in E-Flat Major, Op. 9, No. 2, 18301831 Night piece Conductor Resulted from the orchestras growth in numbers and complexity Became necessary to have one person to lead and control the orchestra Musical Elements Melody Age of lyricism – unending melody Melodies appealed to the emotions Phrases tended to be longer and irregular in length Themes were more complex and utilized chromaticism Advent of theme transformation (Berlioz, Wagner) Harmony Basically tonal By end of the 19th century chromaticism (movement by half steps) stretched tonality to the breaking point Chromaticism imbued greater dissonance and tension into the sound Rhythm Metric Rhythmic effects were used for “color” – rubato Articulations in the instruments tended to be heavy and intense A new vocabulary of music terms arose that indicated how to achieve the composer’s desired sound – cantabile, dolce, con amore, allegro agitato. These designations produced a more emotional sound and response. Texture Essentially homophonic The sonority tended to be thick, heavy and lush Timbre/Instrumentation This period saw a full exploration of the instrumental families. Instruments were used for both their individual and collective color potential. Instrumental timbre was used to convey mood and atmosphere. The orchestra became much larger – from 70 players to more than 100 (resulting in the necessity of a conductor). Instruments could play louder and carry farther. Instruments were capable of major changes in dynamics. Strings String sections increased in size and were given more difficult accompaniment parts (scales, arpeggios) Woodwinds Development of new instruments saxophone (baritone and tuba) were invented by Adolf Sax piccolo, bass clarinet and English horn were added. Important improvements in wind instruments “Boehm system” of fingering for flutes and clarinets achieved better facility and intonation for the performer and greater musical range English Horn Piccolo Saxophone Bass Clarinet Brass •Addition of valves and improvement to valves on brass instruments allowed the playing of a full chromatic compass for the first time and to more easily play quick runs of notes •Tubas and Trombones were added Percussion Expanded to include bass drum, snare drum, cymbals and other exotic percussion instruments (gong, castanets) Instrumental Music Absolute music tended to reflect the Classical heritage of Mozart and Haydn; it tended to be more traditional in compositional style and instrumentation Symphony, concerto, sonata, string quartet Program music was compositionally guided by a story, poem, idea or scene; it tended to be more progressive in compositional style and instrumentation Program symphony, Tone poem, Symphonic poem Character Pieces In contrast to the large instrumental genres, these were smaller pieces typically for piano called character pieces Dynamics Gradual Much wider range – extremes of dynamic variation Used extensively throughout the compositions Form Stretching of the classical forms: sonata-allegro rondo theme and variation minuet and trio Composers Traditionalists Tended to compose in the style of their teachers (classical era). While extending the elements of music, they rarely went outside of the norms. Composer Examples: Brahms, Tchaikovsky Schumann, Mendelssohn, Franck, Schubert, Chopin, Mussorgsky, Rimsky-Korsakov, Puccini, Fanny Mendelssohn Hensel, Clara Schumann Johannes Brahms (1833-1897) German composer – 4 symphonies, violin concerto, string quartets, 200 lieder, German Requiem Befriended by the Schumann family Classicist in the Romantic period – often criticized for being “out of step” with the music of his time. Avoided newly invented forms (program symphony, tone poem) Preferred to say new things within traditional forms Symphony No. 4 in E minor, 1885 4th movement Felix Mendelssohn (1809-1847) German composer of symphonies, concerti, oratorios, piano music, and chamber music Also known as a pianist and conductor Revived interest in the works of J.S. Bach with his production of the St. Matthew’s Passion Founder of Leipzig Conservatory Conservative musical tastes Critical of contemporaries said of Liszt that his works were "inferior to his playing, and [..] only calculated for virtuosos" A Mid-Summer Night’s Dream Elijah Fanny Mendelssohn Hensel (1805-1847) German pianist and composer Sister of Felix Mendelssohn Career limited by prevailing attitudes of the time towards women Her father wrote to her in 1820 "Music will perhaps become his [i.e. Felix's] profession, while for you it can and must be only an ornament“ 460 compositions including piano trios, songs, & solo piano pieces A number of her works were published under Felix’s name Songs Without Words Das Jahr (“The Year”) Johann Strauss II (1825-1899) Austrian composer of light dance music and operettas Over 500 waltzes, polkas, & other dances “The Waltz King” Son of famed Johann Strauss I Toured the US in 1870s The Blue Danube Waltz Die Fledermaus (The Bat) Progressives Tended to extend the boundaries of traditional sound and scope in their compositions. They utilized new instrumental techniques and color. They used increasingly more chromaticism. Composer Examples: Wagner, Liszt, Berlioz and Verdi Hector Berlioz (1803-1869) French composer of programmatic works. Most of his works call for huge instrumental and vocal forces Very influential in his techniques and writing about orchestration Symphonie fantastique, 1830 Program symphony in five movements Uses idée fixe – thematic transformation Fourth Movement: March to the Scaffold Symphonie Fantastique Program music – tells the story of an artist who has poisoned himself with opium 5 Movements Reveries -Passions – Falls in love w/the girl, introduces Idee Fixe A Ball – Festive party in the countryside – haunted by girl Scene in the Fields – reflections - mingling of hope & fear March to the Scaffold – in an opium-induced sleep, dreams that he killed his lover & is beheaded Dream of the Night of the Sabbath – witches’ Sabbath – his lover participates and celebrates his death Nationalists Following the many wars and conflicts of the 19th century country boundaries in Europe became more defined. Nationalistic music (music that highlighted folksongs, dances, folklore) abounded. Most nationalistic music followed a more traditional pattern of composition and sound. Many composers utilized nationalistic melodies, dances and stories. Composer Examples: Smetana, Mussorgsky, Rimsky-Korsakov, Wagner, Chopin, Verdi, Puccini, Liszt Modest Mussorgsky (1839-1881) Russian composer One of the Russian Five: Mily Balakirev, Cesar Cui, Alexander Borodin, Nikolai Rimsky-Karsaov Modest Mussorgsky Utilized Russian folksongs – often based on church modes, irregular in meter Pictures at an Exhibition, 1874 Originally a cycle of piano pieces inspired by pictures in a memorial exhibition honoring Mussorgsky’s recently deceased friend, the Russian architect and artist Victor Hartmann. 10 pieces with descriptive titles This work is best known in its orchestrated version by Maurice Ravel (1922) Great Gate of Kiev Pyotr Illyich Tchaikovsky (1840-1893) Russian composer & music critic Originally trained as a Civil Servant & later educated at the Russian Musical Society (RMS) – a precursor to the St. Petersburg Conservatory Composed symphonies, operas, concerti, ballets, and other orchestral and piano pieces Utilized repetition of themes/rhythmic patters & unusual meters The Nutcracker Suite Swan Lake Sleeping Beauty 1812 Overture 1812 Overture Written in 1880 to commemorate the Russian defense of their homeland against Napoleon in 1812 Used today for many patriotic celebrations Score calls for 5 cannons Listening Guide: O Lord, Save Thy People – somber prayers At the Gate, at my Gate – Russian Folk Dance La Marseillaise (French National Anthem) coupled with God Save the Tsar! (Russian National Anthem) = battle scene Cannon shots & church bells signal Russian victory Bedřich Smetana (1824-1884) Bohemian (Czech Republic) composer of opera and symphonic poems, pianist and conductor Founder of the Czech national music Music steeped in folk songs dances and legends of Bohemia The Moldau, 1874 Part of Ma Vlast, a cycle of symphonic poems Vocal Genres Opera Music Drama Mass and Requiem Art Song Giuseppe Verdi (1813-1901) Italian composer of 15 operas, a Requiem, a string quartet His music became a symbol of the Italian liberation movement (struggle against Austrian domination) Rigoletto, 1851 Act III – La donna è mobile Giacomo Puccini (1858-1924) Italian opera composer Unlike Verdi and Wagner – did not involve himself in politics Known for his beautiful lyricism (critics often cite a “popular” lesscrafted style of composition) La Bohème 1896 Act I: Rodolfo and Mimi arias Richard Wagner (1813-1883) German composer for the stage – music dramas Rejecting Italian opera, Wagner worked out a theory about combining poetry, music, philosophy and drama into one “complete art work” – music drama. He had complete control of every aspect of these music dramas – music, libretto, staging, costumes Incorporated German folktales and legends Used “leitmotifs” – thematic transformation Extreme use of chromaticism Die Walküre (The Valkyrie), 1856 The second of the four music dramas in Der Ring des Nibelungen Wagner uses Nordic mythology to warn that society destroys itself through lust for money and power. Act I, Love Scene