Art Songs Flourished Focusing on the Romantic Desire to Be Dramatically Expressive
Romantic Music
Introduction
Tabular array Summary
| early Romantic (ca. 1820-lx) | late Romantic (ca. 1860-1900) | ||
| full Romantics | Berlioz (program symphonies) Liszt (piano works) Chopin (pianoforte works) | Richard Strauss (tone poems) | |
| conservative Romantics | Mendelssohn (orchestral works) Schubert (symphonies, lieder) Schumann (lieder, piano works) | Brahms (symphonies) | |
| regional Romantics | Russia | Tchaikovsky (ballets, 1812 Overture) Mussorgsky (Bald Mountain, Pictures) | |
| Bohemia | Smetana (My Country) Dvorak (New World Symphony) | ||
| Scandinavia | Grieg (Peer Gynt) Sibelius (Finlandia) | ||
Full general Features
The cardinal aim of Romanticism is unrestrained emotional expression (encounter Western Aesthetics). Romantic artists flare-up gratuitous of the limitations imposed past classicism (residual, harmony, clarity, simplicity), embracing whatsoever aesthetic techniques proved effective in capturing a detail feeling. Throughout the Romantic historic period, composers increasingly embraced abrupt shifts in dynamics and tempo, and experimented with novel melodies and chord progressions.1
The cadre catamenia of Romantic music was ca. 1820-1900; like all aesthetic movements, even so, the borders of this catamenia are "soft". The roots of Romantic music prevarication some two decades earlier (in Beethoven's mid-career works), while the careers of some belatedly Romantic composers stretched decades into the twentieth century. Romantic music can be divided into early and belatedly, with a boundary of ca. 1860.
The mainstream world of Romantic music consisted of Germany, Austria, Italy, and France. Romantic music produced elsewhere is known every bit regional, as it tends to feature a distinct local flavour (e.g. Russian, Maverick). Regional Romantic music flourished mainly during the late Romantic catamenia.
During the Romantic age, the economical basis of Western fine art music shifted from individual patrons (chiefly nobility and clergy) to public audiences, thanks to the Early Modern expansion of the middle form. Since patrons could exert a great deal of control over a composer'due south work (from types of works produced to time allowed for limerick), the patronage system oft curbed artistic freedom. Composers writing for public performance, on the other hand, retained professional autonomy, allowing experimentation to flourish like never before.
Master Article
Chromaticism
Chromaticism is the apply of notes that lie exterior the scale on which a passage is based. For example, if a passage is written in the key of C major, the utilize of any notation outside the C major scale (east.yard. F sharp) constitutes chromaticism. While Baroque and Classical music typically feature some degree of chromaticism, Romantic music took the effect to new extremes, thereby opening a new earth of possibilities for both melodies and chords.
Chromaticism can exist used to shift between keys (e.g. from C major to One thousand major). Once again, while a moderate corporeality of key-shifting is common in Baroque and Classical works, Romantic composers used this technique with increasing frequency. The tendency culminated with Wagner, who wrote the outset music in which the primal constantly shifts nigh.12
The Orchestra and the Pianoforte
During the Bizarre historic period, the orchestra was dominated past the string section; the other three sections (woodwind, brass, and percussion) remained pocket-size. Throughout the Classical and early Romantic ages, the non-string sections grew steadily larger and more independent, culminating in the mature symphony orchestra of the late Romantic menstruation (which remains the standard modern-twenty-four hour period orchestra). Moreover, a wide range of instrumental combinations and techniques were pioneered during the Romantic age, thereby unleashing the full potential of orchestral expression. Late Romantic music is often easily distinguished from early Romantic piece of work by the calibration and diversity of its orchestration.I384
The development of the orchestra was paralleled past that of the piano. An invention of the late Baroque menstruum, the piano gradually superseded the harpsichord every bit the primary keyboard instrument throughout the Classical historic period. During the Romantic period (the "gold age" of the piano), an unprecedented volume and diversity of music was produced for the piano, and the musical instrument'due south total expressive potential was accomplished.I404
Multi-motion Works
A multi-motion work consists of multiple, cocky-contained works, each of which is referred to as a movement. Multi-movement works are common in Western music from the Baroque age onward. Typically, the movements vary in graphic symbol (notably tempo) in lodge to provide contrast throughout the work.
In a work of absolute music (e.1000. a symphony), each movement is typically named according to its tempo (east.yard. allegro, andante). In a piece of work of programme music (e.g. a symphonic poem), each motility is typically named according to the imagery associated with the music (e.grand. Scene in the Country, Tortoises). Sometimes a multi-movement work is called a suite (e.g. piano suite) or bicycle (east.g. song cycle).
Upwardly until the Romantic period, orchestral music was dominated by absolute music, namely the symphony and concerto. During the Romantic period, orchestral plan music came to equal absolute music in popularity. A single-motility work of orchestral programme music is oft chosen a symphonic poem or tone poem, while a multi-motion work is often chosen a program symphony.
Romantic Composer Types
Romantic composers tin be divided into iii groups: full, conservative, and regional. The full Romantics pursued Romantic freedom unconditionally, while the conservative Romantics retained a significant degree of classicism (i.e. structure, clarity, simplicity). These two groups comprise the "mainstream" body of Romantic composers.
Across the mainstream prevarication the regional Romantics, who ofttimes infused Western fine art music with the folk music of their native lands. Regional Romanticism was a belatedly development, flourishing mainly in the 2nd half of the Romantic menses. The near renowned strains of regional Romantic music are Russian, Bohemian, and Scandinavian.
| early Romantic (ca. 1820-60) | late Romantic (ca. 1860-1900) | ||
| full Romantics | Berlioz (program symphonies) Liszt (piano works) Chopin (piano works) | Richard Strauss (tone poems) | |
| conservative Romantics | Mendelssohn (orchestral works) Schubert (orchestral works, lieder) Schumann (lieder, piano works) | Brahms (symphonies) | |
| regional Romantics | Russian federation | Tchaikovsky (ballets, 1812 Overture) Mussorgsky (Bald Mountain, Pictures) | |
| Bohemia | Smetana (My Country) Dvorak (From the New World) | ||
| Scandinavia | Grieg (Peer Gynt) Sibelius (Finlandia) | ||
The next three sections of this article explore each of the groups described above, with the omission of composers known primarily for opera.
Total Romantics
ca. 1820-1900
The four most prominent full Romantics are Berlioz, Liszt, Chopin, and Richard Strauss.
French composer Hector Berlioz is known primarily for his three program symphonies. Foremost of these is Symphonie fantastique (his masterpiece), which relates an creative person'due south doomed struggle with unrequited love; the others are Harold in Italy and Romeo and Juliet. Berlioz was the leading early Romantic figure in the expansion of orchestral instrumentation and technique.I391
Franz Liszt, a Hungarian composer, is remembered chiefly for his many pianoforte works. These include etudes, waltzes, and "Hungarian rhapsodies", the latter of which draw upon the folk music of his native land. (A "rhapsody" is an emotional, through-composed work.) Sonata in B minor is often considered his masterpiece.
Another leading Romantic pianoforte composer was Smooth-French Frederic Chopin, whose Sonata in B flat modest is often identified every bit his greatest work. In improver to sonatas, Chopin worked in such genres every bit the mazurka (a traditional Smoothen dance), etude ("report", a work designed for practising specific technical skills), nocturne (a meditative, lyrical work), and waltz. Chopin was fond of tempo rubato ("free tempo"), a common feature of Romantic music, in which the performer freely adjusts the tempo throughout a performance.I409
Richard Strauss, renowned chiefly as a composer of tone poems, was influenced so strongly by Wagner that he is known equally a Wagnerian. ("Wagnerian" music features the typical qualities of Wagner'southward work, including frequent key-shifting, complex chords, and lush orchestration.) Strauss' most famous tone poem is Thus Spake Zarathustra.
Bourgeois Romantics
ca. 1820-1900
The foremost conservative Romantics are Mendelssohn, Schubert, Schumann, and Brahms.
Franz Schubert excelled primarily in symphonies and song cycles. His foremost symphonies are the Corking and Unfinished.
A lied ("song", plural "lieder") is a Romantic poem (typically High german) arranged for voice and piano. A set of lieder is known as a song cycle. Schubert, often best-selling every bit the greatest lied composer, wrote many song cycles, foremost of which are Die Winterreise ("Winter Journey") and Die schöne Müllerin ("The Miller's Beautiful Daughter").
Felix Mendelssohn is known mainly for orchestral works, specially the Italian Symphony and Overture to a Midsummer Night's Dream (which includes the famous Wedding March).
Robert Schumann is remembered chiefly for vocal cycles and pianoforte cycles. (A "piano cycle" is a series of solo piano works.) His foremost song cycle is Dichterliebe ("Poet'due south Dearest"), while his most famous piano work is Traumerei ("Dreaming"), from the cycle Kinderszenen ("Scenes from Childhood").
Johannes Brahms is often singled out every bit the greatest conservative Romantic. His most renowned works are the German Requiem (often considered his masterpiece) and his iv symphonies.
Regional Romantics
ca. 1820-1900
Outside the "mainstream core" of Western art music (France/Italian republic/Deutschland/Republic of austria), many composers broke new musical basis by merging native folk traditions with mainstream Romanticism. The consequence was regional Romanticism, of which the most renowned branches are Russian, Bohemian, and Scandinavian. (Bohemia was the pre-mod kingdom of the Czechs; "Bohemian" and "Czech" are ofttimes used interchangeably.) Other notable branches include Iberian and English.
Regional composers oft disagreed on the advisable balance of mainstream and native musical elements. This issue was particularly prominent in Russia, where composers often came to be viewed as either "mainstream-focused" or "native-focused".
Foremost of the mainstream-focused Russian composers is Peter Ilyich Tchaikovsky, ofttimes considered the greatest ballet composer of all time; his three masterpieces are Swan Lake, Sleeping Beauty, and The Nutcracker. Tchaikovsky's most famous non-ballet piece of work is the 1812 Overture, which celebrates the Russian defeat of Napoleon'south invasion.
Foremost of the native-focused Russian composers is Small-scale Mussorgsky.I465,I482 His best-known works are Night on Bald Mountain (a symphonic poem) and Pictures at an Exhibition (a piano bicycle).
The foremost Bohemian Romantic composers are Smetana and Dvorak. Bedrich Smetana is known primarily for My State, a set of half-dozen symphonic poems (of which Moldau is the all-time-known). The outstanding masterpiece of Antonin Dvorak is the New World Symphony, composed while working in the United States.
Scandinavia also features 2 outstanding Romantic composers. Norway is represented by Edvard Grieg, whose most famous work is the orchestral suite Peer Gynt. Republic of finland's greatest composer, Jean Sibelius, is known primarily for the patriotic symphonic poem Finlandia.
Romantic Opera
Introduction
Both serious and comic opera were transformed by Romanticism. The bonds of classical construction and simplicity were loosened (or cast bated altogether), as composers strove to convey the full range of human emotion with precision and power.
| Baroque | Classical | Romantic | |
| Italian | Handel | Mozart | (Donizetti, Rossini) > Verdi > Puccini |
| German language | Wagner > R Strauss | ||
| French | Bizet | ||
From the Baroque to the early on Romantic age, opera was typically neatly divided into narrative (plain voice communication or recitative, which advanced the story) and songs (which paused the story to highlight fundamental elements). In the mid/belatedly Romantic age, opera tended to embrace continuous narrative, in which the story unfolds constantly (throughout both speech communication/recitative and songs). Indeed, the stardom between recitative and songs was oftentimes blurred, as recitative became more than lyrical and songs came to lack sharply-divers beginnings and endings.
The history of opera lies primarily in the core region of Western fine art music (France/Italia/Germany/Austria). By far the about pop opera composer from outside the core is Tchaikovsky, whose ii most-performed operas are Eugene Onegin and Pikovaya Dama ("The Queen of Spades").
Italian Romantic Opera
Italian opera experienced a dramatic shift in tone throughout the Romantic flow. The early Romantic was dominated by lively comic opera, the mid/late Romantic by starkly serious opera.
| early Romantic opera (the five about-performed composers) | mid/late Romantic opera (the 8 nearly-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| German | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
The 3 leading figures of early Romantic Italian opera were Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.three The near popular piece of work of each composer is the tragedy Norma (Bellini), the comedy L'elisir d'affection (Donizetti), and the comedy The Barber of Seville (Rossini).
Mid/belatedly Romantic Italian opera was initially dominated by Giuseppe Verdi, widely considered the greatest Italian opera composer (and today's nigh-performed opera composer). Verdi elevated the drama of Italian opera to a level equal to theatre (but as Wagner did for German opera). Up until the mid/belatedly Romantic period, operas had tended to focus primarily on music, and consequently featured relatively simple, undeveloped stories.I449
Verdi, who worked virtually entirely in serious opera, was influential for portraying heroism in characters of marginalized groups (e.g. slaves, prostitutes) and for his edgeless social realism.3,xiv His most popular works are La traviata and Rigoletto, followed by Aida, Nabucco, and Il trovatore.fifteen
Verdi's successors, who embraced and adult upon his overall style (including social realism), are known as the verismo school ("realism school").3 Their leader was Giacomo Puccini, today's third-about performed opera composer (after Verdi and Mozart), and the last smashing figure of Romantic opera. Puccini's 3 well-nigh popular works are La Bohème, Tosca, and Madama Butterfly.
Some opera composers are known almost exclusively for a unmarried piece of work. This is certainly truthful of the 2 leading figures of the verismo school after Puccini: Ruggero Leoncavallo (Pagliacci) and Pietro Mascagni (Cavalleria rusticana).
French Romantic Opera
French Romantic opera was (like Baroque and Classical French opera) rooted in Italian opera, but developed in uniquely French ways. French opera is renowned for its grandeur, achieved through such elements equally large choruses, elaborate dance sequences, and opulent staging and costumes.
| early Romantic opera (the 5 most-performed composers) | mid/tardily Romantic opera (the viii nearly-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| German | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
The foremost early Romantic composer of French opera was Hector Berlioz, whose most-performed works are La damnation de Faust ("The Damnation of Faust") and Les troyens ("The Trojans").
The mid/late Romantic period contains the 4 most pop French opera composers.
Leading the pack is Georges Bizet, whose Carmen is by far today'due south well-nigh-performed French opera; his other masterpiece is Les pêcheurs de perles ("The Pearl Fishers"). The most popular works of Jacques Offenbach are Les contes d'Hoffmann ("The Tales of Hoffman") and Orphée aux enfers ("Orpheus in the Underworld"); of Charles Gounod, Faust and Roméo et Juliette; and of Jules Massenet, Werther.
Operetta
Offenbach was the showtime bang-up composer of operetta, which tin be defined merely as "lite opera". The story and music of an operetta are typically shorter, simpler, and more consistently light-hearted (ofttimes to ridiculous extremes) than those of an opera; operettas thus embody the transition from opera to musical theatre. Offenbach'due south near popular operetta is Orphée aux enfers ("Orpheus in the Underworld").
The leading centres of operetta were Paris and Vienna. While French operetta culminated with Offenbach, the foremost Austrian composer of the course was Johann Strauss II, whose Die Fledermaus ("The Bat") is the world's near-performed operetta. Strauss is also renowned for composing orchestral music in various trip the light fantastic forms, including marches, polkas, and (peculiarly) waltzes, of which the nearly famous example is the Blue Danube .
Exterior French republic and Republic of austria, the most renowned composers of operetta are British duo Gilbert and Sullivan, whose foremost works may exist H.M.S. Pinafore, The Pirates of Penzance, and The Mikado.
German language Romantic Opera
In the Romantic period, serious German language opera finally attained prominence equal to its Italian and French counterparts. Romantic German opera typically features supernatural characters and plots drawn from Germanic mythology; in some cases, ordinary humans are drawn into supernatural matters. The commencement great composer of Romantic German opera was Carl Maria von Weber, whose masterpiece is Der Freischutz ("The Marksman").I438,iv
| early Romantic opera (the five most-performed composers) | mid/tardily Romantic opera (the eight almost-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| High german | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
Weber was succeeded by the foremost German language opera composer, Richard Wagner, who somewhen abandoned the distinction betwixt recitative and songs in favour of continuous melody. Wagner was also the first composer to make extensive use of the leitmotif, a musical theme associated with a detail character or idea. Wagner'southward four most-performed works are Der fliegende Holländer ("The Flight Dutchman"), Die Walküre ("The Valkyrie"), Das Rheingold ("The Rhine Aureate"), and Tristan und Isolde ("Tristan and Isolde").I443-44,2
Wagner had two major successors. One was Richard Strauss, whose most popular operas are Salome and Der Rosenkavalier ("The Knight of the Rose"). The other was Engelbert Humperdinck, whose fame rests almost entirely on one opera: Hänsel und Gretel .
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Source: http://www.essential-humanities.net/western-art/music/romantic
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