Brandon McClain Humanities 4/13/2015 Romantic Era Music As the many socio-political rebellions of the late eighteenth-century accepted new social orders and new ways of life and notion, so composers of the period broke new musical ground by attaching a new emotional depth to the preponderating classical forms. Throughout the remainder of the nineteenth-century, artists of all kinds became intent in declaring their subjective, personal emotions. "Romanticism" gained its name from the romances of medieval times, long poems describing stories of heroes and chivalry, of distant lands and far away places, and often of unattainable love. The romantic artists are the first in history to provide …show more content…
Later in the century, the field of Italian opera was dominated by Giuseppe Verdi, while German opera was virtually monopolized by Richard Wagner.
During the nineteenth century, composers from non-Germanic countries began glancing for ways in which they might indicate the musical soul of their homelands. Many of these transformed to indigenous history and legends as plots for their operas, and to the common folk melodies and dance rhythms of their homelands as inspiration for their symphonies and instrumental music. Others developed a highly personal harmonic language and melodic method which distinguishes their music from that of the Austro-Germanic traditions.
The endured modification and enhancement of remaining instruments, plus the invention of new ones, accompanied to the further expansion of the symphony orchestra throughout the century. Benefiting from these new sounds and new instrumental combinations, the late romantic composers of the second half of the nineteenth-century invented richer and ever larger symphonies, ballets, and concertos. Two of the giants of this period are the German-born Johannes Brahms and the immense Russian melodist Peter Ilyich
The "old" European attitude, and the attitude that attracts many modern performers to early music, is exactly the opposite of the modern attitude:
Until the nineteenth century, music was generally regarded as an international language. Folk music had always been in place and linked directly with particular regions. On a larger scale though, European music was a device for expression through the application of Italian techniques and styles. In other words, its technical vocabulary was Italian, and from the time of the early baroque, European music, in general, had evolved its styles and technical devices from the developments of Italian composers. Furthermore, court opera was nearly always performed in Italian, whether in Dresden or in London, no matter who composed it or where it was performed. For example, in 1855, Queen Victoria suggested to Richard Wagner that he translate his opera Tannhauser into Italian so that it could secure a production in London. Thus, European music, regardless of where it was composed could be (and was) performed throughout Europe and understood through the common Italian commands, descriptions, and styles. It was unacceptable for most to compose in any other way. The international idea began to collapse in the early nineteenth century as embattled nations or nations subjugated by a foreign invader began to think of music as an expression of their own national identity, personality, or as a way of voicing national aspirations.
Since Beethoven was seen as such an influential composer, many sought to compose music similar to that of Beethoven and the other masters who had set the stage for classical music. Yet they could not be too similar to Beethoven and had to have uniqueness in their compositions. As Burkholder explains, composers that followed the musical canon, “...distinguished from their lesser contemporaries by their level of craftsmanship, by the strength of their musical personality, and by an ineffable quality of ‘inspiration,’ ‘beauty,’ or ‘truth’.(Burkholder 120). The craftsmanship can be interpreted as the way they created their compositions in a great way such as the main inspirers of these young composers did. The craftsmanship had to of course to make it an impact, like pieces in any museum, they have to show skill and express the quality of their design. Their strength in musical personality had to show their uniqueness and style they imposed when composing music, to the point where they could be distinguished through their compositions. This strength in personality had to pop out while still following and showing their inspiration, which was the most important quality, to that of the masters of classical music. The inspiration was a key factor that lead to the rise of the musical
From the Early Renaissance to the High Renaissance, there was a movement from vocal music to a combination of vocal and instrumental music (Brown, 1976). There are seven categories of instrumental music: 1) vocal music played by instruments, 2) settings of pre-existing melodies, 3) variation sets, 4) ricercars, fantasias, and canzonas, 5) preludes, preambles, and toccatas for solo instruments, 6) dance music, and 7) songs composed specifically for lute and solo voice (Brown, 1976). Italy dominated the stage for instrumental music at this time, and it was not until the last decades of the sixteenth century that English instrumental music became popular (Brow...
Romantic composers incorporated nationalism into their compositions through special instrumentation and use of local folk song themes. In many nations, they have a sense of individuality through the crafting of their own instruments. For instance the Spaniards had their own styles of stringed instruments and percussion (maracas, etc) and if a composer wanted to write music for a Spanish style, what would be more complete than to portray that style by using their folk instruments to give the song it's individual nationalistic flavor. Composers also used folk songs as recurring themes in their compositions to tie into the heritage of a nation. Most would not simply copy, but use variation in composing new forms of music to give to their countries.
Richard Wagner was supremely interested in the music of other composers, both that of his contemporaries and those who had influenced the operatic stage before him. As an opera composer and librettist himself, he listened to the offerings of other composers carefully, forming his opinions with even more caution. In his anaylsis of Mozart’s work, Wagner credited the composer with “creating true German opera”
Romanticism was an artistic and literary movement that began in the late 18th century Europe that stressed the individual’s expression of emotion and imagination, glorification of the past and nature, and departure from forms of classicism. The movement emerged as a reaction against the ideas
The term romantic first appeared at sometime during the latter half of the 18th Century, meaning in quite literal English, "romance-like", usually referring to the character of mythical medieval romances. The first significant jump was in literature, where writing became far more reliant on imagination and the freedom of thought and expression, in around 1750. Subsequent movements then began to follow in Music and Art, where the same kind of imagination and expression began to appear. In this essay I shall be discussing the effect that this movement had on music, the way it developed, and the impact that it had on the future development of western music.
The Romantic Movement in music co-insides with a general Romantic movement in all arts. At this period, the arts of literature and painting began to influence music. In the Romantic era, music acquired poetic or philosophical meaning. Antiquity, folklore, history and exotic cultures were examined as possible sources of inspiration. Romanticism in literature appears to precede the first signs of Romantic music (for example Goethe [1749-1832] and Wordsworth [1770-1850]). The Romantic Movement was fostered especially by a number of German writers and poets. Their influence on musicians was pervasive and enduring. Weber and Wagner were attracted by the legends of Northern Europe; Schumann by the pseudo-philosophic romantic literature of his day; Chopin by his national poet Mickiewicz; Berlioz by the earlier romantic poet Shakespeare; Liszt by the contemporary French romantic poet Lamartine and by various French romantic painters, and so on. Thus, an explosion of music by poetry, fiction, ph...
At the time the Austrian capital of Vienna was the musical center for composers, which soon became reason for many of the changes that were made to musical style. Composers came from all over Europe to train in Vienna in the classical time period. One of the great composer that came to Vienna is Franz Schubert he soon started a style of music called Viennese School that made many changes to the style of music as well as changes to instrumentation. The arrangements became one form to another while keeping certain similar characteristics, music became lighter and more complex, and melodies and harmonies became more complicated with more separate parts happening all at once. The instrumentation that was popular also changed. Solos, trios, quartets, and quintets became popular, beside large orchestras.
Romanticism was a reaction to the Enlightenment as a cultural movement, an aesthetic style, and an attitude of mind (210). Culturally, Romanticism freed people from the limitations and rules of the Enlightenment. The music of the Enlightenment was orderly and restrained, while the music of the Romantic period was emotional. As an aesthetic style, Romanticism was very imaginative while the art of the Enlightenment was realistic and ornate. The Romanticism as an attitude of mind was characterized by transcendental idealism, where experience was obtained through the gathering and processing of information. The idealism of the Enlightenment defined experience as something that was just gathered.
With the Romantic era taking a foothold in the nineteenth century, the rise of the German opera was nourished with the rise of nationalism in music. Due to the comparative nature of the German language versus the Italian language, early German language operas were imitative but could not effectively compete with Italian language operas. “Traditional operatic singing was a function, an outgrowth of the Italian language, the nature of its vowels, and consonants, and its ability to sustain melisma. As long as German language opera attempted to compete with Italian opera on its own artistic turf without one embracing the unique character of German language vocal music and two, by employing plot elements that would somehow distinguish it from
Ludwig van Beethoven, the famous German born composer and pianist, composed the Romance in F major in 1798. It was likely first performed in that year, but was not published until 1805 in Vienna. It was originally written for violin and orchestra but the edition being performed today was transcribed and edited for saxophone and piano by Peter Saiano. During this period of his life, Beethoven was still known as perhaps the greatest pianist in existence and he was busy touring Europe as a performer. He had not yet achieved the status he now holds as a composer, and during this period he was also working on his first set of string quartets.
Other societal practice during romanticism is the Romantic Opera. In comparison to the classical and baroque opera, romantic opera has a continuous flow of music in each scene and soon, people pay less attention to tenors and pays equal attention to choruses. To name a few of many composers for romantic operas, Wagner and Bizet are known for their works for romantic opera during the romantic era. Romantic music is also influenced by folk music, tunes, rhythms and themes as many romantic composers wrote nationalist music, which is inspired from folk dances and songs, during the romantic period (http://absoluteastronomy.com). Another factor that contributed to romantic music in defining its traits is the instrumentation.
In the late eighteenth century, a movement spread throughout the world that was known as the Romantic Era. The works of authors, artists, and musicians were influenced by emotions and imagination. Characters in literature during that time period heavily relied on impulses to guide them in their decisions. Whether it is the logical choice or not, they followed their hearts instead. The image that Romanticism created was one of a perfect, unrealistic lifestyle because of the worship to the beauty of nature and human emotions. Although some romantic plays ended in a tragedy, it was due to the emotions that we are capable of feeling. Romanticism promoted the idea that people should follow their hearts. This, however, gradually came to an end in the mid-19th-century.