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The Romantic Era: Beginnings and Endings

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The Romantic Era: Beginnings and Endings Chapter 23 – The Romantic Era: Beginnings and Endings Illustration 1: "Symphony in White", James McNeil Whistler, 1862 If one were to try to sum up the zeitgeist of the Romantic Era in one phrase, it would be difficult to find a better one than simply, "the celebration of the individual". Not the mysterious and supernatural power of the Church; the individual. Not the grandiosity of the monarchy or even the hope of a representative government; the individual. Not the promise of reason and logic, not the potential of science and industry, not even the common bond of everyman; it is the individual whose voice we hear in the music and art. It is now the individual who is telling his own story and leading us to see the world through his own eyes. How did this happen? Great music and great art always tell stories on many levels. Certainly on one level, the spirit of the artist always speaks in his own unique voice. It is extremely difficult for a creative artist to remove himself from his artistic work—and a few have actually tried. Often the surface story is fairly obvious. A great deal of Medieval music—being religious—is about the Church. In it you can hear the great mysteries, the celebrations, the fears, the faith. Compare that with the modern era, where one can often hear the sense of excitement, confusion, and frustration with technology that seems to have taken over.i In a later era, the story being told is one of the grandeur of royalty, of the glory of the absolute monarchs. By the end of the Classical Era, the story being told is often described as “everyman”, where the composer's speaking voice is of the universal man having reached a sense of enlightenment. The composer is telling our story. As noted a few paragraphs earlier, the Romantic Era is often labeled “the celebration of the individual.” The composer is telling you, “This is my story. This as I see it, through my eyes and my sensibilities. Not someone else's.” As always, there are always factors in a society that shape the market that determines which paths music and musicians can take. Many times those paths are extremely limited. How does this personal approach help make the music different from previous eras? When the music isn't the composer's own story, one doesn't hear many influences from his life. For most of Western history, a composer's output rarely, if ever, reflects his own personal circumstances. Artists have struggled with tragedy, disappointment, difficult financial circumstances. and it is rarely heard in their work. Some of the few examples are memorials to other composers who have died. Beyond that, it would be difficult to find. We can start to hear a change toward the end of the Classical era. Mozart's final compositions become a little more transparent to the difficulties he experienced in his life at the time. One logical explanation is that when you are composing music for someone else's story, they don't want to hear about your troubles. When you are in an era where there is a market for the individual, the composer will speak with more of his own voice. The artist is encouraged to explore, to challenge, to criticize. Here, Beethoven's name comes up once more. Beethoven was deeply concerned with human rights and personal freedoms, and it is evident in his music, both directly in the topics of some of his compositions, but in the way his drama unfolds as a great struggle, ending with triumph. Beethoven also struggled with his increasing deafness, a sense of conflict that also made its way into his music—along with his own personal resolution to not let it defeat himii. Not to take away from his greatness, but had he been born in a different era and experienced his deafness, his musical output—and reputation—would have very likely have ended much differently. As suggested in the previous chapter, economic, political, religious, and technological factors had to open a path for the individual's voice to be heard. Up through the Classical Era, the patronage system was an important factor in a musician's life. By the end of the Classical Era, patrons were no longer a major factor in the demand for music. Musicians had to find new ways to earn a living. They had to satisfy a new audience—which was now a public who had developed a demand for music it wanted to hear; a public that had sufficient disposable income to pay for what it wanted and sufficient freedom to choose music that fired its imagination. It should hopefully not be surprising that this is the era when we start to see musicians becoming legendary for their performances. Although the term “superstar” wasn't coined until the 20th century, we begin to see superstar conductors and soloists. Some of these had lifestyles somewhat reminiscent of modern rockstars. For most of the last five or six hundred years there have been musicians who have achieved some fame during their lifetimes. However, we do not see wealthy and powerful musicians who can speak their minds until relatively recently. For most of Western history, being a social critic and feeling free to condemn the government or the church was not a good way to ensure that one died of old age. In later eras, it sometimes seems that such criticism is a prerequisite for recognition. Haydn, for one example, was highly celebrated during his lifetime but did not yet experience the opportunity to make waves in the culture of his time (or become fabulously wealthy). The orchestra was still a relatively small ensemble that was just starting to be heard in public concerts. Today, it's completely normal for the most prominent musicians of our eras to be quite wealthy, powerful, and even influential on the political stage. Bono of the band U2 occasionally meets with world leaders—as an equal—to influence policy. To someone in the 1960s listening to the rebellious rock and roll of the Beatles and the Rolling Stones, it would be unthinkable to be told that fifty years later that members would be known as Sir Paul McCartney, MBE and Sir Mick Jagger, Kt – given the title of Knights of the British Empire for their musical careers. Less than a century later at the end of the Romantic Era, we see a series of music "superstars" and virtuoso performers who dazzle audiences, behave like rock stars (if you read a biography of Franz Lizst, you might think someone accidentally inserted some pages of a bio of Mick Jagger). Writers and artists were not afraid to shock. Friedrich Nietzsche proclaimed "God is dead!" in his novel Thus Spake Zarathustra, a proclamation that still raises controversy more than a century later. In many ways, the spirit of the Romantic era is still with us. The role of artist as social critic and popular icon (and tragic figure when he died at an early age) is deeply woven into our current culture. BEGINNINGS. We begin to hear the first rumblings of the movement in the late 1700s. A notable musical and literary movement is known as Sturm und Drang—storm and stress. This movement included works from painters such as Fuselli, literature by Goethe, and music by Haydn, conveying powerful emotions and personal visions— intended to shock—pointing the way to the 19th century trends. Many of Mozart's final compositions begin to show a different, more personal approach. Historians mark the beginning of the musical Romantic Era in the early 1800s. While the Church and imperial forms of government were still an influence on society, their effect is almost unnoticeable in the music of the era. The patronage system had long ceased to be a factor. If you were an artist, you were on your own and responsible for your own success or failure. The market had changed--the public was now a driving force behind the success of artists. The climate had changed to where an artist had the personal freedom to speak his mind, tell his own story. and try to outdo everyone else with his own distinct voice. When we look back at the transitions from one era to another, the nearly universal rule is one of rejection. Society had redefined its image of itself; redefined its own version of reality. And with that, of course, always comes a redefinition of art and musiciii. This one, however, was a little different. The transition from the Classical Era to the Romantic Era was not one of revolution, but instead one of evolution. Among the usual casualties of an era transition are musical forms. The standard sonata-cycle based forms that were so useful at the end of the Classical Era were still being used at the end of the Romantic Era (although sometimes a bit loosely). Composers at the end of the Classical Era became the leading composers of the Romantic Era. While there were a lot of innovators, there was still a market for those who continued as champions of the old forms and styles. Over the remaining decades of the 19th century Romantic music split into two separate directions. One direction was a conservative purist approach keeping symphonic, concerto, and chamber music structures relatively intact. Johannes Brahms and Anton Bruckner were two of the leaders of this school of thought. Brahms' first symphony was nicknamed “the tenth” by some of his contemporaries because many critics felt it was the first symphony composed since the death of Beethoven that was a worthy successor to his ninth.
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