Romantic Era-Early 19th Century

05/03/23 1

The Romantic EraThe Nineteenth

Century

Listen to This By Mark Evan Bonds 5-2Listen to This By Mark Evan Bonds PRENTICE HALL

©2009 Pearson Education, Inc.Upper Saddle River, NJ 07458

Political and Social Events of the Times

Monarchies had given way to more and more democracies.

Many countries which retained their monarchies also had democratic elements in their governments (e.g., Great Britain).

Lively cultural centers arose in Paris, Vienna, Prague, Budapest, Leipzig, Dresden, Amsterdam, and London, where artists, musicians, philosophers, and others gathered.



The Nineteenth Century Composers’ status rose tremendously as they

were no longer employees of royalty and the aristocracy.

Performers received enormous fees. Pianos and other instruments became

widespread. Many middle-class homes had their own pianos. Demand for compositions for amateurs grew.

Music became a political force, calling for freedom, equality, and rights to assemble and associate with whomever people chose.



Musicians Musicians were self-sustaining.

Sources of income were published music, public concerts, commissions.

Public concert associations, ballet companies, symphony societies, and opera companies were formed all over Europe and the United States.

London Philharmonic Society, Paris Societe des Concerts du Conservatoire, New York Philharmonic, etc.

They became highly respected members of society.



The Romantic Era A time of fascination with imagination, individual

emotion--called “Romanticism” Intellect and art still important; dreams became

important too. Music--composers were freed from conventional

styles and forms to compose in their own voices. Orchestras were bigger; timbres, more diverse. Program music became more important. Range of musical elements--melody, rhythm,

harmony, dynamics, timbre, texture, and form grew tremendously during this period.



Romantic Composers & Their Public

Composers wrote to fulfill inner need, rather than by commission

Wanted to be judged by posterity Musicians wrote for middle-class; now increased

in size Industrial revolution



Romantic Composers & Their Public

Founding of music conservatories in U.S.-Chicago, Cleveland, Boston

More young men & women studying to become professional musicians

Virtuosity-Franz Liszt, Niccolo Paganini, Clara Wieck Schumann

Romantic composers came from their own social class audience, needed family support for careers

Few able to support selves through composition alone: sell music to publishers, touring, teaching, music critics, some lucky enough to have patrons



Romantic Composers Beethoven & Wagner-prolific U.S. composers-Stephen Foster, Henry Gilbert, Schubert-symphonies, art song Chopin-keyboard music only Verdi-Italian opera Rossini-Italian opera Tchaikovsky-ballet R. Strauss-Tone poem Sibelius, Brahms, Mendelssohn, Mahler, Liszt,

Mussorgsky, Franck, Berlioz



Romantic Subjects for Artistic Works

Nature Beauty Love Death The supernatural The mystical,

magical, and mysterious

Adventure

Travel, distant lands, exotic cultures

Drug-induced states The brotherhood of

man The individual and

the common man The superman and

hero



Romanticism should be: Subjective and

emotional Translating human

soul into music Sorrow, passion,

tenderness, exuberance, despair



Characteristics of Romantic Music

Individuality of Style Self-expression, “echo of

innermost feeling”-Tchaikovsky

Highly emotional music Unique Reflects personality of

composer




Evocative Titles for Musical Works: musicians gave their works titles which depicted Romantic themes or subjects (e.g., love, nature, adventure)

Emotional Music: Romantic music attempted to express the gamut of human emotions through the musical elements: increased length of compositions, larger orchestras




Program Music: music written to tell a story or describe something Sometimes the composer included a story,

called a “program.” The composer told the story or described

something through the elements of music. Musical sounds imitate non-musical

situations “Union of the Arts”




Rhythm: changing tempos within sections; rubato common; more complex meters and rhythms

Melody: long, flowing, emotional melodies; some short themes to express specific ideas or people; major and minor tonalities with chromaticism (using notes not in scale); instrumental melodies with wide leaps: not easy to grasp or sing




Harmony: key centered (tonal), but many changes of key (modulations) and much chromaticism; harmonies complex and not easy to follow

Dynamic Expression: extremes of dynamics used (ppp to fff); crescendo and decrescendo used extensively

Texture: mainly homophonic with some polyphony




Forms Continued use of classical genres and forms:

symphony (often with titles), solo concerto. opera

New small piano forms (nocturne, ballade, étude, waltz, mazurka)

New orchestral forms: ballet, symphonic tone poem, concert overture



Form: Miniature & Monumental

Age of contradictions Movements longer(Symphonies-45 minutes) New techniques-more use of theme throughout

symphony Thematic transformation-ex. Lyrical melody

becomes grotesque dance tune One movement goes directly into next Generalizations of period difficult-great diversity



Performance Media Larger concert halls & opera houses More emphasis on horn & percussion sections More woodwind instruments Addition of other percussion Greater instrumental flexibility More use of upper & lower registers Higher level of virtuosity New ways of blending & combining tone colors for

intense sound



Nationalism Nationalism--pride in country became important; the

nation as a central social identity rose to prominence. Groups were united by language and culture. Composers created music to reflect their national

pride, often using folk music of their countries as the basis for compositions.

Transportation changed. Railroads and steamships made long distance

travel feasible. Communication expanded--telephone and

telegraph invented. Populations grew.



Outstanding Composers of the Early Romantic Period

Hector Berlioz: orchestration

Franz Schubert: art songs

Robert Schumann: piano works

Clara Schumann: a concert pianist and composer

Frédéric Chopin: short piano works

Franz Liszt: piano virtuoso

Felix Mendelssohn: conductor, promoter, and composer

Fanny Mendelssohn: pianist and composer



The Romantic Art Song A poem set to music Typical subjects:

love, nature, beauty, death, and heroism

Performed in small gatherings in people’s homes; later performed in concert halls

Singer and piano equally important Piano: introduction

and ending section Melodies heard in

both parts in a musical dialogue

Poetry and music both high art



The Art Song Many composers set poems

in native language Favored poets: Goethe,

Heine German art song: Lied Art song-filled with unrequited

love, beauty of nature, supernatural folk tales, reaching out of the soul

Translation of mood & imagery into music; mood set by introduction & postlude (end of piece)



Forms of Art Songs Strophic and Modified Strophic: Several

verses of poetry with the same (or basically the same) music (e.g., The Trout)

Through-composed: Music does not repeat itself in a a specific pattern as the poem unfolds (e.g., The Erlking)

Song Cycles: groups of songs that tell a story or reflect on nature, beauty (e.g., Winterreise)



Chapter 27: Franz Schubert “Erlkönig”

A drama set to music; characters Sung by Narrator Father Child The Erlking (death)

Only one performer with piano accompaniment

Text is a poem by Wolfgang Goethe--a ballad--poem that tells a story.



The Erlking: The Story

Child asks Father if he can see The Erlking.

Father says he can only see Willow Trees.

Child resists, but The Erlking takes him by force.

When Father arrives home, his Child is dead!

Father is riding horse at night with his Child.

Child is afraid; he sees the Erlking (Death).

Father reassures Child as they ride.

Erlking entices the Child to come with Him.

Child expresses fear



Franz Schubert “Erlkönig” Word-Music Relationships--song fits the content,

meter, and rhyme scheme of the poem. Rhythm--repetitive rhythmic figure in the

accompaniment represents the horse. Register--three characters and the narrator each have

a particular register of the singer’s voice. Dynamics--reflect the story; father is always loud; child

is soft then loud; Erlking is softer and softer until very loud at end.

Harmony--key of g minor; shifts to major when the Erlking “speaks”--provides harmonic variety to the song.



Franz Schubert (1797 - 1828) A prolific composer of German lieder (art

songs) His songs involve texts from some of the

greatest writers of his day. Other works:

9 symphonies, many piano sonatas, chamber music

“The Trout”--a song and a piano quintet Symphony no. 8--”Unfinished” “Death and the Maiden”--a song and a string

quartet “Serenade”--a song and a piano piece 7 masses Over 600 art songs



Franz Schubert at the Piano by W. A. Rieder



Franz Schubert (1779-1828) Born in Vienna; member of Vienna Boy’s Choir Son of school master Pianist and violinist Wrote Gretchen am Spinnrade at 17 Started out as a teacher, but quit to compose at 21. Income came entirely from composition Usually lived with friends, did not mingle with upper class Contracted syphilis at 25, moody & prone to despair Like Mozart, he died at a young age (31), after 5 years of

illness. Applied to musical positions but not accepted



Franz Schubert Die Forelle(The

Trout) 1817 Text by Christian

Daniel Schubart Trout caught by

fisherman Also as string

quartet



Clara and Robert Schumann



Robert Schumann (1810-1856) Born in Zwickau, Germany; went to study law at Leipzig

University, but skipped class!! Studied piano with Friedrich Wieck; married his daughter,

Clara: a concert pianist. Contracted syphilis, which ruined his hands and ended his

concert piano career. Founded The New Journal for Music: served as editor and

music critic- set up with partners in 1834. One of first to praise Berlioz’ Symphonie fantastique and to

recognize both Chopin and Brahms as compositional geniuses Developed depression and hallucinations (from syphilis?); died

in asylum at age 46.



Robert Schumann Through writing & criticism, championed

Chopin, Schubert, Brahms Wrote with pseudonyms Wrote virtually all piano works before age

of 30 in 1840 4 symphonies with experimental aspects-

large brass section, high level of chromaticism; cyclic devices; sonata-allegro form with no development



Robert Schumann(1810-1856)

Schizophrenic, “gloriously mad”

Attempted suicide by jumping into Rhine in 1854, rescued



Robert Schumann “Dedication”

“Widmung” = “Dedication” Written in 1840, the year he married Clara

Wieck (they eloped) A love poem set to music An example of a German lied



Robert Schumann “Dedication”

Form = ternary A B A’ A’ means that the first section is repeated after the

contrasting section, but slightly differently Both the melody and the rhythm create the

contrast between the A and B sections; harmony contributes to the contrast as well

Harmony A = key of A-flat B = key of E--NOT a closely related key;

A-flat has 4 flats; E has 4 sharps.



Robert Schumann Character pieces

Carnaval-Opus 9 from Piano Solo “Little Scenes on Four Notes” Collections of personalities Written during Carnaval season of 1835(Mardi Gras) Chiarina-for Clara Weick Chopin- “nocturne” Estrella-fiancee Ernestine von Fricken Reconaissance-reunion Certain movements named for clowns of Commedia

del arte(Italian theater) Papillons-butterflies



Robert Schumann Other Compositions

Dichterliebe (Poet’s Love)--a song cycle Kreisleriana--a cycle of solo piano works Piano Concerto in A Minor Symphony no. 3 (“Rhenish”) Over 275 art songs Chamber music Symphony No. 1



Clara Wieck Schumann (1819 - 1896)

Studied piano at age 5 Gave first full piano recital at age 9 Toured Europe as child prodigy Published music as teenager, rare Her father, Friedrich Wieck, opposed her

marrying a musician, but she eloped and married Robert Schumann anyway at age 21

8 children, one dying in infancy. She was one of the great piano virtuosos of her

generation.



Clara Wieck Schumann (1819-1896)

Premiered Robert’s works and those of Brahms(came to live with Schumanns in 1853)

Continued to perform after marriage and widowhood, but few compositions were published after that.

Had long relationship with Johannes Brahms. Widowed in her mid-30’s, Clara pursued a highly

successful career as a soloist (piano) and teacher. Taught at Leipzig Conservatory of Music and Hoch

Conservatory in Frankfurt.



Clara Wieck Schumann--by Dagli Orti



Clara Wieck Schumann Other Compositions

Piano Concerto in A Minor Three Songs on Texts by Rückert Variations on a Theme by Robert

Schumann--for piano Piano Trio in G Minor Three Romances--for piano



Program Music & Symphonic Works

After Beethoven, two courses were established: An attempt at sustaining the traditional concept of the

symphony as established by the Viennese Classicists Mendelssohn, Schumann, Brahms

Venturing into the experimental in expressiveness and expansion as modeled after Beethoven’s 6th(Pastoral) and 9th(Choral)

Berlioz, Liszt, Mahler



Program Music Berlioz & Liszt

Abandoned four movement form

Theme transformation Colorful and expressive

orchestral resources Many changes in tempo

& dynamics Melodic & harmonic

chromaticism



Program Music Symphonic poem-An orchestral form in which a

poem or program provides a narrative or illustrative basis

One movement Flourished in 1840’s to 1920’s Satisfied three aspirations of 19th century

To relate music to the outside world To integrate multi-movement form To elevate instrumental music to a higher level than that

of vocal music



Program Music Overtures became independent of their theatrical

origin Achieve programmatic status “Incidental Music” Overture-direct prototype for Liszt’s conception

of a one-movement symphonic poem His view was to refrain from narrative & literal

depiction, theme transformation



Chapter 29: Hector Berlioz Symphonie fantastique, 4th movement

A 5-movement composition with a written program written by Berlioz himself The story--an artist’s dream that moves

from blissful reverie (1st movement) to nightmare (movements 4 and 5).

Dream is about lover and her eventual rejection of him.



Symphonie fantastique Written during Prix de Rome year

A young musician of morbid sensibility and ardent imagination in a fit of lovesick despair has poisoned himself with opium. The drug, to weak to kill, plunges him into a heavy sleep accompanied by strange visions. The sensations, feelings, and memories are translated in his sick brain into musical images and ideas. The beloved one herself becomes for him a melody, a recurrent theme that haunts him everywhere.



Hector Berlioz Symphonie fantastique

1st Movement--“Dreams--Passions”--artist thinks about beloved

2nd Movement--“A Ball”--artist sees lover at a dance

3rd Movement--“Scene in the Countryside”--artist dreams he is in the country but then thinks about his lover’s betraying him

4th Movement-- “March to the Scaffold”--artist’s execution for killing lover

5th Movement-- “Dream of a Witches’ Sabbath”--ghosts and monsters gather for his funeral



Hector Berlioz Symphonie fantastique, 4th movement

Timbre--composed for a huge orchestra Berlioz--widely acknowledged as the first great

master of orchestration--the art of arranging music for instruments

Symphony includes novel and spectacular orchestral effects. Combining timbres of individual instruments and

groups of instruments to create sounds that had never been heard before

Exploiting the range of the instruments and the types of melodies that could best be played by them



Program Music: Berlioz’ Symphonie Fantastique

He also asked string players to hit strings with the back of the bow (“col legno battuta”) to imitate skeletons.

He wrote a detailed program. The 5th movement includes another famous

melody: the Dies Irae (Day of Wrath) from the Requiem Mass for the Dead.

Berlioz “transformed” the melody: i.e., he varied it for effect, but it was recognizable.



Hector Berlioz Symphonie fantastique, 4th movement

Idée fixe--a melody (represents the beloved) whose form changes from movement to movement but which appears at some point in all five movements, transformed to fit the emotion of the moment

Form of 4th movement: Introduction A/B/A/B/A/ Coda (two contrasting

sections framed with an Introduction and a Coda A theme - “gloomy and ferocious” B theme - “solemn and brilliant” Idée fixe is heard just prior to the fall of the

guillotine blade (artist thinks of lover before dying)



Hector Berlioz (1803 - 1869) Born near Lyon, France, Grenoble Berlioz’ father wanted him to be a doctor; he went to medical school in

Paris, but dropped out. Started serious music study at age 19. Studied in Rome(Prix de Rome) and returned to Paris to compose. Studied at the National Conservatory of Music in Paris. Wrote music criticism to support himself during his studies. Studied instrumental effects and learned how they produced sounds. Wrote an important book on orchestration (how to use the instruments

of the orchestra to produce the desired sounds): Treatise on Instrumentation.

Friends with Eugene Delacroix, Victor Hugo This composition is written about Berlioz’s obsessive love for Harriet

Smithson. Another composition, “The Return to Life” is believed to be a marriage proposal to her.



Hector Berlioz(1803-1869) Obsessed with

actress Harriet Smithson “Smithson &

Berlioz will be reunited in the oblivion of the tomb”

Married Harriet despite objection, left after nine years to live with Italian opera singer



A Caricature of Hector Berlioz Note the Exaggerated Hair



Hector BerliozOther Compositions

Harold in Italy--a symphony Romeo and Juliet--a symphony Requiem--a Mass for the Dead “L’enfance du Christ” (The Infancy of Christ)--an

oratorio Te Deum The Trojans-opera Grande symphonie funèbre et triomphale



Felix Mendelssohn (1809-1847) Born in Hamburg, Germany into a prominent family notable for

its expertise in the areas of philosophy and finance.. Child prodigy; studied piano, and began composing at a very

early age. Wrote 6 symphonies by age 12, 7 more by age 14, and an

overture by age 21. Father tried to add “Bartholdy” to family name to avoid anti-

Semitism (sometimes this name is added to his). A cosmopolitan composer who spoke English, French, and

Italian; able to read both Greek and Latin easily. Conducted a revival of Bach’s St. Matthew Passion. Composed the famous “Wedding March.”



Felix Mendelssohn (1809-1847) Became conductor of Gewandhaus Orchestra

in Leipzig. Orchestra performed music of many

contemporary composers. Pushed his orchestra to perform at high

level. Founded Leipzig Conservatory, one of

Europe’s finest music schools. Died shortly after his older sister, at age 37.



Felix Mendelssohn: An Early Promoter and

Producer As conductor of the Leipzig Orchestra

Doubled musicians’ salaries from own pocket; established pension plan for them.

Assembled programs of music from both contemporary and earlier composers.

Actively promoted music of his contemporaries: e.g., Schubert, Schumann, Berlioz, Brahms, and Chopin.



Mendelssohn on a Trip to London, by James W. Childe



Fanny Mendelssohn (1809-1847) Felix Mendelssohn’s older sister; married

Wilhelm Hensel. A fine pianist and composer, but her music

remained unpublished. Some speculate that some music attributed to

her brother may have been composed by her. Also performed music by of other composers. Died on stage during a rehearsal.



Romantic Piano Music Pianos had greatly improved by the time of

the Romantic Period. Better sound, loud enough to fill public concert

halls Better mechanical systems, responsive to virtuoso

playing The Public loved virtuoso performers. Private concerts for selected guests were

performed in salons.



The Piano Cast-iron frame

allowed for greater string tension

Hammers covered with felt

Range extended Damper pedal

added



Romantic Piano Music Pianos became popular in the home;

composers wrote and publishers produced music for the non-virtuoso player.

Especially among the middle class and the wealthy, learning to play piano was considered part of a good education.

This demand for all-level works was lucrative for composers and publishers.



Salon (Intimate) Piano Music: Miniatures (2-5 mins.)

Ballades Capriccios Consolations Etudes (studies) Fantasies Impromptus Mazurkas

Nocturnes Polonaises Preludes Rhapsodies Scherzos Songs Without

Words Waltzes



Frédéric Chopin (1809 - 1848) Born near Warsaw, Poland; gave first piano recital at age 8;

studied piano at Warsaw Conservatory. Father was French and mother was Polish--never felt at home

in either place. Russia annexed most of Poland, which awakened his

nationalism--as manifested in his polonaises and mazurkas. Made a living in Paris from teaching and sales of his music for

piano. Had a long relationship with Amandine Lucile Aurore

Dudevant (George Sand). Died of tuberculosis, age 39. Most of his works are for piano.



Frederick Chopin(1810-1849)

Wrote exclusively for piano, “the poet of the piano”

First imaginative use of pedal & rubato(performer deviates slightly from exact execution of rhythm)



A Daguerreotype of Chopin



Other Virtuoso Artists of the 19th Century

Franz Liszt--piano; created the public piano recital Very famous piece--Hungarian Rhapsody

#2 Nicolo Paganini--violin

Very famous pieces--Caprices, and Violin Concerto #2 in B Minor



Franz Liszt (1811-1886) Born near Sopron (in

Austria-Hungary). Studied piano in Vienna;

piano concert debut in London at age 11.

Considered greatest piano virtuoso of 19th century.

Lived in Paris from age 16 to age 38, touring throughout Europe.



Franz Liszt (1811-1886) Became music director to Grand Duke of

Weimar. Story has it, he changed position of piano

on stage (from back to audience to sideways) and threw away the music!

Ever since, tradition has dictated that pianists play concert music from memory.



Franz Liszt (1811-1886) Some famous works

Orchestra: Faust Symphony, Dante Symphony, Les Préludes, Piano Concertos No. 1 and No. 2

Piano Music: Sonata in b minor, Six Consolations, Transcendental Studies, Hungarian Rhapsodies, and many short piano pieces

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