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Unit 7 Romantic Era Notes.Pdf The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. Composers also wrote works based on stories of exotic lands and people. 10 Listening #2 Smetana: The Moldau pg. 339 CD 6/1 https://www.youtube.com/watch?v=3G4NKzmfC-Q 11 Changing status of musicians A composer was no longer dependent for income on the steady employment by nobility but relied instead on the support of the public and the patronage of individuals. Music was seen less as an occupation and more as a calling. Specialized training institutions (conservatories) replaced the apprentice system of the church and the court. Women found more opportunities for musical expression, especially as performers, but social and cultural barriers still limited their participation as composers. 12 Style Romantics were drawn to “the exception of the rule.” 13 Color Emphasis on color Tone color (timbre) Harmonic color 14 Harmony Harmonies are fuller, often more dissonant Chromatic harmonies Modulations to distant keys Bi-modal tonality Complicated chords Diminished seventh chord German sixth (the augmented sixth chord on the flattened submediant) chromatic chords Harmony used as a means of expression 15 The Orchestra Expanded orchestra Greater variety of instruments, including improved or newly-invented wind instruments Complete string, woodwind & brass families 16 The Romantic Style Melodies are longer, more dramatic and emotional. Dynamic range is wider, and there is a larger range of sound. Tempos are more extreme Accelerando Ritardando Rubato Performance directions now given by composers increased use of score markings 17 Rhythm Greater rhythmic freedom Cross-rhythms-simultaneous use of conflicting rhythmic patterns or accents Macro-rhythms-groupings of rhythms into large patterns Leitmotifs-motive that represents a character, emotion, idea or object idée fixe-fixed idea that remains constant throughout a piece Cyclic principle Material from one movement recurs in another 18 Program Music Program Symphony Concert Overture Symphonic Poem (tone poem) Incidental Music Art Song 19 Program Symphony Programmatic composition Several movements Each movement has descriptive title 20 Listening #3 Berlioz: Symphonie Fantastique, 5th movement “Dream of a Witch’s Sabbath” pg. 325 CD 5/34 https://www.youtube.com/watch?v=RVUAR8Nk8xQ 21 Hector Berlioz 1803-1869, French Training Studied medicine until age 20 Studied at Paris Conservatory Studied in Rome for 2 years after winning the Prix de Rome Analyzed musical scores Attended performances composed 22 Hector Berlioz 1803-1869, French Accomplishments Won Prix de Rome (1830), highest award at Paris Conservatory Arranged concerts at his own expense Music critic Composer Conductor Invented new forms Dramatic symphony Dramatic legend (combines opera and oratorio) 23 Hector Berlioz 1803-1869, French Style Passionately expressive and dramatic Programmatic Driving rhythms Unique sound Unexpectedness Abrupt contrasts High ww vs. low string, brass, perc Dynamic fluctuations Tempo changes 24 Hector Berlioz 1803-1869, French Works Orchestra Orchestra with chorus or vocal soloists Program symphonies Overtures Operas Vocal music 25 Concert Overture One movement Sonata form 26 Listening #4 Tchaikovsky: 1812 Overture https://www.youtube.com/watch?v=VbxgYlcNxE8 Finale https://www.youtube.com/watch?v=u2W1Wi2U9sQ 27 Symphonic Poem (tone poem) Programmatic composition (composers were inspired by novels, plays, poetry, paintings, legends, and historical events) One movement piece Flexible form Written for orchestra Played a major role in the development of Romantic Style 28 Listening #5 Dukas: The Sorcerer’s Apprentice https://www.youtube.com/watch?v=Ait_Fs6UQhQ 29 Incidental Music Music that is performed during a play to set the mood. 30 Listening #6 Grieg: Peer Gynt Suite No. 1 Op. 46, “Morning” https://www.youtube.com/watch?v=WYs6Tud55Sc 31 Listening #7 Grieg: Peer Gynt Suite No. 1, Op. 46, “In the Hall of the Mountain King” https://www.youtube.com/watch?v=r__Dk4oWGJQ 32 Art Song Solo voice & piano Poetic text lost love beauty of nature folk legends Wide Range of expression 33 Art Song Form Strophic-same music for each verse Through-composed-new music for each verse Combination of both Song cycle art songs grouped together in a set Austro-German Lied: Schubert, Schumann, Liszt, Brahms, Mahler, Strauss French Melodie: Berlioz, Liszt 34 Listening #8 (strophic) Schubert: The Trout CD 4/54 pg. 289 https://www.youtube.com/watch?v=5DaGv6H9puI 35 Listening #9 (through composed) Schubert: Erlkonig (Elrking-King of the Elves) CD 4/48 pg 286 https://www.youtube.com/watch?v=JuG7Y6wiPL8&index=2&list =RD5DaGv6H9puI 36 Franz Schubert, 1797-1828, Austria Training Taught by his father, a school teacher Choir boy in the court chapel Played violin and conducted the orchestra at the Imperial Seminary where he was a student Accomplishments Master of the Romantic Art Song Mainly a composer NOT a virtuoso nor a professional conductor did not hold an official position as a music director or an organist. Began composing as a teenager and composed over 300 songs before he turned 20. Was a teacher at his father’s school (a job that he hated) 37 Franz Schubert, 1797-1828, Austria Style Works were composed to be performed in the homes of the cultivated middle class Schubert did not mingle with the aristocracy, instead he preferred the company of poets, artists, and musicians. Known as a great song composer Variety of moods and types (short/long; strophic/through- composed) Many deal with nature or unhappy love. Rich, imaginative harmonies Long, lyrical melodies Often wrote variations of his own works (i.e. Trout Quintet CD 5/7 is a variation on Die Forelle CD 5/9) 38 Franz Schubert, 1797-1828, Austria Works More than 600 Lieder, including "Erlkönig" ("Erlking", 1815) and 3 song cycles, among them Die schöne Müllerin (The Lovely Maid of the Mill, 1823) and Winterreise (Winter's Journey, 1827) 9 symphonies, including No.8 ("Unfinished", 1822) Chamber music, including 15 string quartets, 1 string quintet, 2 piano trios, the "Trout" Quintet, one octet, various sonatas Piano sonatas, dances and character pieces Choral music, including 7 Masses, other liturgical pieces and part songs Operas and incidental music for dramas Schubert, like Mozart, composed a huge number of works in his short life. In concert programs and recordings his works are often identified by a number preceded by the letter "D". This stands for Otto Erich Deutsch, who catalogued them in chronological order (so that a low "D number" indicates an early work.) 39 Listening #10 Schubert, Ave Maria https://www.youtube.com/watch?v=sE1WoMocTlw From Fantasia https://www.youtube.com/watch?v=8xXkB-ncF2g 40 Absolute Music Symphony Concerto 41 Symphony Resisted programmatic tendencies Maintained 4 movement structure Frequent use of cyclic principle 42 Listening #11 Brahms: Symphony No. 3 in F Major, 3rd movement https://www.youtube.com/watch?v=ERF45KiPOwI 43 Concerto Structure remained the same Soloist became more important unlike the balance in the Classical Concerto Introduction of cyclic principle 44 Johannes Brahms, 1833-1897, German Training Father was a musician (bass player) Took piano lessons, studied theory and composition Arranged music for his father’s orchestra Played piano in local dance halls Toured as an accompanist when he was 20 Accomplishments Conductor Pianist Often performed or conducted his own works director of the Berlin Singakademie for 2 years 45 Johannes Brahms, 1833-1897, German Style Composed only absolute music Conservative approach drawing inspiration from Mozart, Haydn, and Beethoven Great master of theme and variations Mellow moods Rich, dark tone colors
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