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V romantic
This document provides an overview of the Romantic period in music from 1820-1900. It discusses key characteristics of Romantic music including a focus on emotion, imagination, and individuality. Many important Romantic composers are mentioned such as Chopin, Liszt, Mendelssohn, and Schumann. The genres of art song, piano works, symphonies, and program music are examined. Examples of works by Chopin, Schumann, Clara Schumann, and Mendelssohn are provided for analysis.
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V romantic
- 1. Music: An Appreciation 4thBrief Edition by Roger Kamien Unit V The Romantic Period 1820-1900 Presentation Development: Robert Elliott University of Arkansas at Pine Bluff
- 2. The Romantic Period • Time-line: • Monroe Doctrine—1823 • Hugo: Hunchback of Notre Dame—1831 • Dickens: Oliver Twist—1837 • Dumas: The Three Musketeers—1844 • Poe: The Raven—1845 • Darwin: Origin of Species—1859 • American Civil War—1861-1865 • Twain: Huckleberry Finn—1884 • Bell invents telephone—1876
- 3. Romanticism (1820-1900) • Stressed emotion, imagination and individualism • Emotional subjectivity basis of arts • Favorite artistic topics: • Fantasy and the supernatural • Middle Ages/concept of chivalry & romance • Architecture revived Gothic elements • Nature: as mirror of the human heart • Period of the Industrial Revolution • Resulted in social and economic changes
- 4. Chpt. 1: Romanticismin Music • Many important Romantic composers • Franz Schubert • Bedrich Smetana • Robert Schumann • Antonin Dvorak • Clara Schumann • Peter Tchaikovsky • Frederic Chopin • Johannes Brahms • Franz Liszt • Giuseppe Verdi • Felix Mendelssohn • Giacomo Puccini • Hector Berlioz • Richard Wagner • Continued use of Classical period forms • Much individual alteration and adjustment • Greater range of tone color, dynamics, and pitch than in Classical period • Expanded harmony—complex chords
- 5. Chpt. 1-Romanticism inMusic Characteristics of Romantic Music Individuality of Style • Composers want uniquely identifiable music Expressive Aims and Subjects • All approaches were explored: • Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … • Romantic love still focus of songs & operas • Lovers frequently depicted as unhappy and facing overwhelming obstacles • Dark topics draw composers Nationalism and Exoticism • Nationalism: music with a national identity • Exoticism: intentionally imply foreign culture • Frequently in operas with foreign settings
- 6. Chpt. 1-Romanticism inMusic Characteristics of Romantic Music Program Music • Association with a story/poem/idea/scene • Understanding the music enhanced through reading program or viewing associated work Expressive Tone Color • Composers tried to create unique sounds • Blending of existing instruments • Addition of new instruments • Tone color important to emotional content Colorful Harmony • Chords built w/ notes not in traditional keys • Harmonic instability consciously used device
- 7. Chpt. 1-Romanticism inMusic Characteristics of Romantic Music Expanded Range of Dynamics, Pitch & Tempo • Dynamics ff, pp expanded to ffff & pppp • Extremely high and low pitches were added • Changes in mood frequently underlined by (sometimes subtle) shifts in tempo Forms: Miniature and Monumental • Some composers went on for hours • Required hundreds of performers • Others music lasted only a few minutes • • Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other Classically traditional works
- 8. Chpt. 2: RomanticComposers and Their Public • Demise of the patronage system • Composers regarded themselves as “free spirits” • Decline in aristocratic fortune—Napoleonic wars • New urban classes/new musical topics • Public was entranced by virtuosity • Piano became a fixture in most homes • Composers/audience: same social class • Few composers financially successful
- 9. Chpt. 3: TheArt Song • Composition for solo voice and piano • Accompaniment integral part of the song • Linked to vast amount of poetry in this period • Composers interpret poem’s, mood, atmosphere and imagery into music • Mood summed up at end with piano postlude Strophic and Through-Composed Form • Strophic form repeats music for each verse • Through-composed—new music each verse •Sometimes modified strophic form used The Song Cycle • Group of songs unified in some manner • Storyline or musical idea may link the songs
- 10. Chpt. 4: FranzSchubert • Born in Vienna (1797-1828) • Early Romantic composer • Prodigious output • When 18 years old wrote 143 songs • At 19 years wrote 179 works • Included 2 symphonies, opera & mass Schubert’s Music • Wrote over 600 songs • Also symphonies, string quartets, other chamber music, sonatas, masses, operas, & piano works • The Unfinished Symphony: only 2 movements, not 4
- 11. Chpt. 4-Franz Schubert Listening Erlkonig(The Erlking), 1815 by Franz Schubert Listening Guide: p. 219 Brief Set, CD 3:12 Based upon narrative ballad with supernatural topic by Goethe Note: Through-composed form Piano portrays galloping horse Different characters have their notes pitched at different levels to emphasize dialog Dramatic ending
- 12. Chpt. 5: RobertSchumann • German, early to mid-Romantic (1810-1856) • Wanted to be piano virtuoso • Problem with hand ended his ambition • Treatments & gadget made problem worse • Married his piano teacher’s daughter • Temperamentally unsuited for some of the musical positions he attempted • Committed to asylum where he died Robert Schumann’s Music • Wrote piano pieces, art songs, and later symphonies • Piano pieces and art songs frequently in cycles
- 13. Chpt. 5-Robert Schumann Listening FromCarnaval (1834), a cycle of program music by Robert Schumann Estrella, for his first fiancée Ternary form, note syncopation in B section Listening Guide p. 223 Brief Set, CD 3:18 Reconnaissance (Reunion) Ternary form, note B section shift from homophonic to polyphonic texture Listening Guide p. 223 Brief Set, CD 3:20
- 14. Chpt. 6: ClaraWieck Schumann • German (1819-1896) • A leading 19th Century pianist • One of 1st well-known women composers • Married Robert Schumann • Stopped composing after his death • Focused on performing his works • Pair was friends w/ Johannes Brahms Clara Schumann’s Music • Stopped composing at age 36 • Considered herself primarily a performer • Wrote songs, piano pieces, a concerto…
- 15. Chpt. 6-Clara WieckSchumann Listening Romance in G Minor for Violin and Piano, Op. 22, No. 2 (1853) by Clara Schumann Listening Guide: p. 226 Brief Set, CD 3:22 “Romance” often used to indicate short lyrical piece for piano or solo instrument and piano Note: Ternary form Pizzicato (plucked) violin at end
- 16. Chpt. 7: FredericChopin • Polish born musician (1810-1849) • Early to mid-Romantic composer • Came to Paris at age 21 • Europe’s Romantic Period artistic capital • Wrote almost exclusively for piano • Made extensive use of piano pedals • Composed mostly for chamber concert • Avoided concert halls Chopin’s Music • Developed personal style at early age • Not program music, but evokes an image • Unique harmonic style influenced others
- 17. Chpt. 7-Frederic Chopin Listening Nocturnein E Flat Major, op. 9, no. 2 by Chopin (1830-31) Listening Guide: p. 229 Brief Set, CD 3:27 Nocturne (night piece)-slow, lyrical, intimate piece for piano Note: Expressive, emotional presentation with subtle shifts in tempo and dynamics Pedal notation on music (p.229)
- 18. Chpt. 7-Frederic Chopin Listening Etudein C Minor, Op. 10, no. 12 Revolutionary (1831?) by Chopin Listening Guide: p. 230 Brief Set, CD 3:28 Etude—study piece focusing on a specific technique in performance Note: Speed & endurance required of left hand Not just a study, but interesting music
- 19. Chpt. 7-Frederic Chopin Listening Polonaisein A Flat Major, Op. 10, no. 12 by Chopin (1842) Listening Guide: p. 231 Basic Set, CD 5:13 Polonaise—originated as stately processional dance for Polish nobility Note: Triple meter Ternary—A B A’ with coda
- 20. Chpt. 8: FranzLiszt • Hungarian born composer (1811-1886) • Virtuoso pianist • Touring concert pianist until age 36 • Incredible performer and showman—”rock star” • Retired from touring & took court position • More time to compose • Liszt’s Music • Extremely controversial • Bombastic & vulgar, or the ideal music? • Broke away from strict Classical forms • Created symphonic poem (tone poem)
- 21. Chpt. 8-Franz Liszt Listening Transcendentaletude no. 10 in F Minor (1851) by Liszt Listening Guide: p. 234 Basic set, CD 5:18 Note: Shifting tempo Extreme emotionalism High degree of difficulty for performer (virtuoso piece) Ternary form with a coda
- 22. Chpt. 9: FelixMendelssohn • German composer (1809-1847) • Early to mid-Romantic period • Developed early • Wrote symphonies, concertos, sonatas, and other works before being teenager • Responsible for revival of Bach’s music • Died of a stroke while touring Mendelssohn’s Music • Somewhat more conservative • Avoids emotional extremes • Projects both elegance and balance
- 23. Chpt. 9-Felix Mendelssohn Listening Concertofor Violin and Orchestra in E Minor, Op. 64 (1844) by Mendelssohn First Movement Listening Guide: p. 237 Basic Set, CD 5:24 Note: Controlled emotionalism Simple, singing melodies Cadenza near the end for soloist
- 24. Chpt. 10: ProgramMusic • Instrumental music associated with a story, poem, idea, or scene • Non-program music is called absolute music • Usually performed with written explanation of the piece—a program • In Romantic,usually for piano or orchestra • Common types: • Program symphony—multi-movement/orchestral • Concert overture—modeled on opera overture • Symphonic poem (or tone poem)—1 movement, orchestral, flexible form • Incidental music—for use before or during a play
- 25. Chpt. 11: HectorBerlioz • French composer (1803-1869) • Mid-Romantic Period • Wrote unconventional music • Passionate & unpredictable • Major award for Fantastic Symphony • Autobiographical—program note p. 241 • Worked as music critic for support • One of the first of the great conductors Berlioz’s Music • Imaginative, innovative orchestrations • Required huge resources • Pioneered concept of idee fixe
- 26. Chpt. 11-Hector Berlioz Listening SymphonieFantastique (Fantastic Symphony, 1830) by Berlioz Fourth Movement: March to the Scaffold Program notes: p. 242 Listening Guide: p. 242 Brief Set, CD 3:31 Fifth Movement: Dream of a Witches’ Sabbath Program notes: p. 244 Listening Guide: p. 244 Basic Set, CD 5:34 Note: Program material and how composer related it to the music Returning melody for idee fixe
- 27. Chpt. 12: Nationalismin 19th Century Music • National identity grew during the Romantic • Citizens, not mercenaries now fought wars • Bonds of language, history & culture formed • Led to unifications creating Germany and Italy • Composers deliberately gave their works distinctive national identity • Use of folksongs and folkdances • Created original melodies with folk flavor • Wrote operas and program music inspired by native history, legends, and landscapes • Strongest impact in countries dominated by music of Germany, Austria, Italy and France
- 28. Chpt. 12-Nationalism in19th Century Music Listening The Moldau (1874) Part of the cycle Ma Vlast (My Country) by Bedrich Smetana Symphonic Poem depicting the main river that flows thorough the Bohemian (Czech) countryside Program notes: p. 247 Listening Guide: p. 248 Brief Set, CD 3:35 Note: Program material and how composer related it to the music
- 29. Chpt. 13: AntoninDvorak • Followed Smetana composing Czech national music (1841-1904) • As teenager, played in orchestra under Smetana • Got his break when Brahms heard him • Became director of the National Conservatory of Music in New York • Urged Americans to write nationalist music • Wrote From the New World during 1st year • Later returned to Prague Conservatory
- 30. Chpt. 13-Antonin Dvorak Listening SymphonyNo. 9 in E Minor (From the New World, 1893) by Dvorak First Movement: Adagio; Allegro molto Listening Guide: p. 251 Basic Set, CD 6:8 Note: Based upon American folk melodies Use of non-major/minor scales Sonata form (but with 3 themes, not 2)
- 31. Chpt. 14: PeterIlyich Tchaikovsky • Russian, Late Romantic (1840-1893) • Studied music in Russia • Did not start until age 21 • By age 30 had a symphony, opera, tone poem and his1st great orchestra work • Married, divorced two weeks later • Supported by benefactress (patron) • They corresponded but never met • Traveled Europe and United States Tchaikovsky’s Music • Wrote symphonies, concerti, overtures, operas, and more • Fused Russian folk music & European style
- 32. Chpt. 14-Peter IlyichTchaikovsky Listening Romeo and Juliet Overture-Fantasy by Tchaikovsky Listening Guide: p. 254 Basic Set, CD 5:44 Note: Depicts events and characters, but is not a re-telling of the story Different melodies for characters/groups of characters and events Love theme has become very well known
- 33. Chpt. 15: JohannesBrahms • German composer (1833-1897) • Son of a musician (father played bass) • At 13, studied music by day/played gigs by night • Became close friends with the Schumanns • Lived with Clara while Robert in asylum • Lifelong friends with Clara, he never married • Studied earlier composers’ works in detail • Especially Bach, Haydn, Mozart & Beethoven Brahms’s Music • Considered somewhat conservative due to his use of classical forms • Wrote in all traditional forms except opera
- 34. Chpt. 15-Johannes Brahms Listening EinDeutsches Requiem (A German Requiem, 1868) by Brahms 4th Mvt.: How Lovely is Thy Dwelling Place Chorus and orchestra Listening Guide: p. 258 Brief Set, CD 3:49 Note: Movements—not a Catholic mass Based on passages from Martin Luther’s translation of the Bible
- 35. Chpt. 16: GiuseppeVerdi • Italian (1813-1901) • Mid- and late Romantic composer • Studied in Busseto & Milan • Supported by patron • Married patron’s daughter • Known for opera • Wrote operas with political overtones • Nationalist, supported unification of Italy • Critics blasted him scandalous subjects • Seemed to condone rape, suicide, and “free love” Verdi’s Music • Wrote for middle-class audience • Favorite topic: love story w/ unhappy ending • Final opera ends with “All the world’s a joke!”
- 36. Chpt. 16-Giuseppe Verdi Listening Ladonna e mobile (Woman is fickle) Aria from Rigoletto (1851) by Verdi Listening Guide: p. 262 Basic Set, CD 6:20 Note: Middle class topic, as in Classical period Text Familiar melody
- 37. Chpt. 17: GiacomoPuccini • Italian (1858-1924) • Late-Romantic composer • Known primarily for operas • Became wealthy and world famous due to the popularity of his music • Opera La Boheme 1st major success • Made use of Exoticism, setting his operas in foreign places • His operas make use of short melodies, simple phrases, and realistic dialog • Artistic style verismo (reality): “true to life”
- 38. Chpt. 17-Giacomo Puccini Listening LaBoheme (1896) by Verdi Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria: Che gelida manina (How cold your little hand is!) Storyline of meeting of Rodolfo and Mimi (p. 264-65) Listening Guide: p. 265 Brief Set, CD 3:50 Note: Dialog is more realistic Tempo shifts to accentuate music & text
- 39. Chpt. 18: RichardWagner • German (1813-1883) • Mid to late Romantic composer • Studied in Germany • Later moved to Paris—did not work out • Returned to Germany, got in trouble • Finally settled & succeeded in Munich, Bavaria • Lived large off of others—ran up debts • Wrote in many styles, famous for opera Wagner’s Music • His works were large, full blown affairs • No recitatives & arias—just non-stop music • Adapted idee fixe to leitmotif approach • Huge orchestrations for operas • Requires big voices to be heard
- 40. Chpt. 18-Richard Wagner Listening DieWalkure (The Valkyrie, 1856) by Wagner Act I: Love scene (conclusion) Storyline of the Ring Cycle & this scene (p. 272) Listening Guide: p. 274 Brief Set, CD 4:1 Note: Huge production, large orchestrations Big, powerful voices required Use of leitmotif for people, places, things and ideas