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The influence of Romanticism
The influence of Romanticism
The influence of Romanticism
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When researching various romantic composers, it is easy to see how different they are and the reflection pinpointed during the romantic era. Although Franz Schubert and Franz Liszt have some minor similarities, the differences between the romantic composers are remarkable. Both composers were involved in education as a teacher, at some instance in their lives. This was definitely not a calling for Schubert. He quit working at this father’s school because he hated it. On the other hand, Liszt loved to teach and did this in his own free will. Hundreds of composers would travel to Weiman, just to receive teaching by Liszt. He would even do this free of charge. This proves Liszt had a calling as an educator, while Schubert did not. While they
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
For almost half a century, the musical world was defined by order and esteemed the form of music more highly than the emotion that lay behind it. However, at the turn of the 19th century, romantic music began to rise in popularity. Lasting nearly a century, romantic music rejected the ideas of the classical era and instead encouraged composers to embrace the idea of emotionally driven music. Music was centered around extreme emotions and fantastical stories that rejected the idea of reason. This was the world that Clara Wieck (who would later marry the famous composer, Robert Schumann) was born into. Most well known for being a famous concert pianist, and secondly for being a romantic composer, Clara intimately knew the workings of romantic music which would not only influence Clara but would later become influenced by her progressive compositions and performances, as asserted by Bertita Harding, author of Concerto: The Glowing Story of Clara Schumann (Harding, 14). Clara’s musical career is an excellent example of how romantic music changed from virtuosic pieces composed to inspire awe at a performer’s talent, to more serious and nuanced pieces of music that valued the emotion of the listener above all else.
When one thinks of the Romantic composers, the names Beethoven, Wagner, Chopin, or Liszt come to mind. Looking even further into the period one sees the names of nationalist composers like Glinka, Tchaikovsky, and Smetana. Unfortunately, there are still many composers of the Romantic era whose music is known, but for some reason there names have grown apart from there music. Edvard Grieg, a Norwegian nationalist composer, is one of these men. Many people would know Grieg’s work “In the Hall of the Mountain King” if they heard it, but would be unable to tell you who had written it or where the work originates from. Despite his lack of fame in today’s world, his music still is a prime example of the Romantic period and tendencies. Two works in particular are “Morning Mood” and “In the Hall of the Mountain King”, both from his Peer Gynt Suite No. 1, despite their very conflicting styles.
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
Between the years 1782 and 1785, Wolfgang Amadeus Mozart wrote six string quartets which were dedicated to his friend and fellow composer, Joseph Haydn. These quartets, known as the "Haydn Quartets," were among Mozart's "first six masterpieces in the medium" (Keller, 64). In composing these works, Mozart was inspired by Haydn's recently published Opus 33, which is also a set of six string quartets. When Haydn wrote his Opus 33 in 1781, it was the first time he had written for the string quartet in a period of ten years. With the six pieces of Opus 33, Haydn established a style of chamber music that he described as being in "an entirely new, very special manner" (Pauly, 45). At the same time, it had also been nearly 10 years since Mozart had written for the string quartet. Mozart met Haydn in Vienna, and heard the quartets of Opus 33. He "regarded these quartets of Haydn with special reverence and was moved to write six of his own" (Crocker, 393). It is clear that Haydn had a strong influence on the composition of these works. In fact, Mozart once claimed: "I have learned from Haydn how to write quartets" (Berger, 286). Nonetheless, Mozart's unique personality and technical mastery are also apparent in these works. This paper will discuss the ways in which Mozart's "Haydn Quartets" are similar to the string quartets of Haydn.
The brilliant composer Clara Schumann was born as Clara Josephine Wieck on 13 September 1819. Even before her birth, her destiny was to become a famous musician. Her father, Friedrich Wieck, was a piano teacher and music dealer, while her mother, Marianne Wieck, was a soprano and a concert pianist and her family was very musically gifted. Her father, Friedrich, wanted to prove to the world that his teaching methods could produce a famous pianist, so he decided, before Clara’s birth, that she would become that pianist. Clara’s father’s wish came true, as his daughter ended up becoming a child prodigy and one of the most famous female composers of her time.
Schubert's instrumental works show development over a long period of time, but some of his greatest songs were composed before he was 20 years old. In Schubert's songs the literary and musical elements are perfectly balanced, composed on the same intellectual and emotional level. Although Schubert composed strophic songs throughout his career, he did not follow set patterns but exploited bold and free forms when the text demanded it. Except for his early training as a child, Schubert the composer, was largely untrained and self-taught. His gift of being able to create melodies that contained both easy naturalness and sophisticated twists at the same time was unprecedented for his time. On this quality rests the reputation that music history finally gave Schubert.
<td width="50%">Baroque OrchestrasClassical OrchestrasString section and basso continuo central to the orchestra. Other instruments are occasional additions.Standard group of four sections: strings, woodwinds, brass and percussion. Different instruments treated individually.Fairly small; generally 10- 40 players.Larger than baroque; great variation to the numbers of players.Flexible use of timbres, e.g. Timpani and trumpets used generally just for festive music.Standardised sections. Most sections used regularly.Tone colour is distinctly secondary to other musical elements.Greater variety of tone colour and more rapid changes of colour. Timbre is unimportant and therefore a piece written for harpsichord could easily be rearranged for a string section.Each section of the classical orchestra has a special role. And each instrument is used distinctively.Wind instruments mainly used as solo instruments or as part of the basso continuo.The wind section had become a separate unit capable of contrast and distinct colour.The harpsichord generally plays an ostinato under the orchestra. Piano not invented.The piano introduces a third colour-tone to be contrasted with the orchestra
Wolfgang Amadeus Mozart and Ludwig van Beethoven are very famous past composers that have created many pieces that have influenced not just people of their time, but people in modern times as well.
There were two great composers in the romantic music period. One was Frédéric Chopin and the other was Franz Liszt. They had great talent and composed excellent pieces that were really hard to play. These composers also had an interesting childhood.
Victor Hugo, A.W., Friedrich Schlegel, Schiller and Schelling all expressed their thoughts of romanticism through writing. Caspar David Friedrich and John Constable expressed their thoughts on romanticism on canvas through art. Later on, Beethoven, Schubert, Chopin and Wagner expressed it through music.
Aaron Copland and George Gershwin held multiple similarities throughout their pre-composing lives. The two were born around the same time, Gershwin being born September 26th of 1898 and Copland November 14th of 1900 both in Brooklyn New York. Both of the composers came from Russian Jewish immigrant families, and both developed into musical prodigies through piano teachers from the neighborhood which they both rapidly outgrew. It wasn’t until both men began their musical careers that stark differences arose between the two, mainly through their musical education and how immersion in American society versus European society affected their styles. Both artists are still considered to be the most widely celebrated and most successful modern American
His astonishing understanding of musical rudiments was further cemented at age seven by his first teacher Otto Friedrich Willibald Cossel, with piano literature ranging from Bach to Schubert to Clementi (Musgrave 10). The young gifted talent quickly matured, with his compositions being sedulously characterized in craft similar to the seasoned taste of aged liquor. Following in the wake of Beethoven, his style of romanticism seemed restrained, and viewed as being confined to classical forms. With his preference towards absolute music, his works demonstrated “as [Ian] McEwan/ [Clive] Linley would have it, at the intersection of emotion and reason” and of “powerful intellect and of passionate expressivity” (Platt and Smith 4). However, being the headstrong romantic that he is, he manipulated the limiting factor into an area of expanse, in which he developed his music into seriously emotional, imaginative works of art.... ...
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
The characteristics of romantic music are influenced by the Romantic Movement, where the arts of literature and painting play a great role in influencing romantic music. Other evidence of non-musical influences in romantic music is the popularity of romantic poetry during that era. Poems, opera arias and works form great romantic poets are transformed into instrumental works and composers like Schubert uses musical elements such as melodies inspired by poetry in his works (http://absoluteastronomy.com). The musical language itself has shown that romantic music is different from the rest of the music before its time. Extended tonal and harmonic elements are noticed in romantic music compared to those in the classical era, where chromaticism, the usage of dissonance, and modulations are used extensively.