The Romantic Period (1820-1900)

1. The Romantic Period(1820-1900) Helen, Laureen, Courtney

2. Religion and Culture • A time of strong contradictions between: Capitalism and Socialism Freedom and Oppression Logic and Emotion Science and Faith • The expression of emotion and the evocation of imagination was a primary goal → Virtuosity, individualism, and nationalism • The Industrial Revolution gave rise to a wealthy, capitalistic middle class → Decline in the power and influence of the court • Music was addressed to the masses as never before • The development of the music business was an important influence → Music critic interpreted the composer to the public, and set standards for musical taste

3. Style and Composition • Romanticism is personal and filled with contrasting concepts of music • There are contradictions in style among groups of composers → There were idealists/absolutists who insisted that music must exist without extramusical associations → There were also increasing number of composers experimenting with music that told stories (imitated sounds of nature, illustrated scenes)

4. Continued • There was a contrast between nationalism and internationalism → Composers evoked patriotic feelings by using folklore, folk songs, and dances. Nationalism became famous in Russia, Poland, and Bohemia. → Some composers avoided nationalism in music in search for an universal musical language. • Common goal of composers in this era was based on the premise that a feeling of musical tension is necessary to achieve a corresponding intensification of emotional response.

5. Women and Men • Women found more opportunities for musical expression, especially as performers, but social and cultural barriers still limited their participation as composers →Fanny Mendelssohn Henselwas the first significant female composer in America and one of the leading composers of the "New England School." → Gaelic Symphony (1896) and Piano Concerto (1899) → Amy March Cheney BeachGerman pianist, composer of Lieder and chamber music. →Sister of Felix Mendelssohn →Oratoriumnach den ,BildernderBibel, Gartenlieder(Garden Songs, 1846)

6. Continued • Men composers still played central roles in developing Romantic music and modern orchestration. → Hector Berlioz: a French composer, conductor, and writer on music. → overtures Waverley,Rob Roy,Le roi Lear; and program symphonies Symphoniefantastique, Harold en Italie(Harold in Italy),Romeo et Juliette → Georges Bizet: French opera composer. → opera Carmen. An example of his music: CarmenSuite No. 1, III: Aragonaise. → Johannes Brahms, and Frederic Chopin

7. Vocal Music • Vocal styles underwent a revolutionary change during the nineteenth century Romantic era. • During Romantic Era, art song became its own special category of vocal music - separate from folk song, operatic aria, and popular song. It was very lyrical. • Oratorios – semi important • Choral music – semi important • Art Song – most important

8. Continued • The nineteenth century saw the development of many different musical styles, so it is difficult to describe the Romantic style. But as in all the periods we are studying, certain elements stand out → Dynamic range is wider, and there is a larger range of sound. → There is a greater variety of instruments, including improved or newly-invented wind instruments. → Melodies are longer, more dramatic and emotional.

9. Instrumental Music • The piano became the most popular instrument → Played by one person - very individual expression → Short piano miniatures and symphonic works • Chamber music became less and less popular • Old instruments were improved and new instruments were invented → Tuba, saxophone, and celesta • Orchestra grew in size and variety of color → English horn, clarinet, more brass and percussion was added

10. Qualities of Music • Less emphasis on form • More emphasis on texture and color (orchestration • Subjectivity is important to both composers and performers • Chromaticism • Wide contrasts in dynamics and tempos • Composers explored the limits of the major-minor harmonic system • Program music became important • Almost completely vertical structure

11. Musicians’ Life • Composers were not only freer musically; they were freer as individuals. • Many were celebrities, like today's rock stars. • Some were quite wealthy. → Some could earn income through the sale of printed copies of his music, tour as a conductor throughout Europe and North America, produce performances of his music or operas. → Others were supported by wealthy patrons and a few were supported by their governments.

12. Audio/Media • Symphonie fantastique, Op. 14-Idée fixe by Hector Berlioz (3) → Hector Berlioz turned his orchestra into a vast playground of sounds in his Symphoniefantastique. In this programmatic symphony, Berlioz uses a musical theme to represent the woman loved by an artist who has attempted suicide by opium, only to fall into a drugged dream state. In each movement this idée fixe (as he called it) appears in different forms that mirror his vision of the woman. In the first movement, the theme is abstract and ideal as is his vision of the woman. • "Jeux de vagues" from La Mer by Claude Debussy (4) → In this excerpt, Debussy uses the merest suggestion of melody and an ever-changing palette of orchestral colors to portray "the play of the waves."

13. Continued • Symphony No. 1 in C minor-Fourth (8) Movement by Johannes Brahms → This melody, one of the themes of the final movement, is typical of Brahms' graceful allegro themes. The singable quality of it immediately attracts the listener, and at the same time, its musical quality makes it suitable as the foundation of a works as large as a symphony. • http://www.wwnorton.com/college/music/enj10/complete/content/unit/romantic.htm?chap=57#2