Music of the Romantic Era instructor: Dr. Blake Howe [bhowe@|su.edu] M&DA 297 meetings: Mondays, Wednesdays, and Fridays, 9:30‐10:20 M&DA 245 office hours: Fridays, 10:30-11:30 Struggle and Triumph Music Ludwigvan Beethoven, Symphony No. 5 in C Minor,Op. 67 (1804‐08) Ludwigvan Beethoven, Fidelio, Op. 72 (1805, rev. 1814) 0 Act II, Scene 1 (No. 11, “Gott! Welch' Dunkel hier!“) 0 Act II, Scene 2 (No. 16, “Heil! Heil sei dem Tag"!) Primary Sources Ludwigvan Beethoven, Letter to Carl andJohann Beethoven (6 October 1802), translated in Musicin the Western World:A Historyin Documents,2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008),277‐79. Christian Friedrich Michaelis, "Einige Bemerkungen Uber das Erhabene der Musik” (“Some Remarks on the Sublime in Music," 1805), excerpted and translated in MusicandAesthetics in the EighteenthandEarly-Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 202‐03. E.T. A. Hoffmann, "Beethovens Instrumental-Musik"(1813), translated as"Beethoven’s Instrumental Music," in Strunk's Source Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1193-98. Historical/Analytical Studies Joseph Kerman,"Beethoven’s Minority," in Write All These Down:Essays on Music(Berkeley, Los Angeles, and London: University of California Press, 1998), 217‐37. MoralLawWithin, Starry Skies Above Music Ludwigvan Beethoven, Piano Sonata No. 32 in C Minor,Op. 111 (1821‐22): 0 Second movement, Arietta: Adagio molto semplice e cantabile Ludwigvan Beethoven, String Quartet No. 15 in A Minor, Op. 132 (1825): 0 Third movement, Molto Adagio‐Andante (HeiligerDankgesangeines Genesenen an die Gottheit, in derlydischen Tonart) Primary Sources Immanuel Kant, Kritik derpraktischen Vernunft(1788), as excerpted and translated in Paul Guyer, "Introduction: The Starry Heavens and the Moral Law," in The Cambridge Companion to KantandModernPhilosophy, ed. Paul Guyer (Cambridge: Cambridge University Press, 2006), 1. Friedrich Schiller, Uber naive andsentimentalische Dichtung(1795), translated as On NaiveandSentimentalPoetry, trans. and ed. William F. Wertz,Jr., The Schiller Institute, selected excerpts. G.W. F. Hegel, Phanomenologie des Geistes(1807), translated as The Phenomenologyof Mind, trans.J.B. Baillie (NewYork: Macmillan, 1910), selected excerpts. Historical/Analytical Studies Theodor W. Adorno, Beethoven: The Philosophyof Music, ed. RolfTiedemann, trans. EdmundJephcott (Stanford: Stanford University Press, 1998), 123‐26. Maynard Solomon, "Some RomanticImages," in Late Beethoven: Music, Thought, Imagination(Berkeley, Los Angeles, London: University of California Press, 2004), 42-70. The Ninth Music Ludwigvan Beethoven, Symphony No. 9 in D Minor, Op. 125 (1824) Primary Sources Hector Berlioz, "Etude critique des symphonies de Beethoven" (1862), translated asA CriticalStudy of Beethoven's Nine Symphonies, trans. Edwin Evans (London: William Reeves, 1958), 103‐17. Richard Wagner, program notes for Beethoven's Symphony No. 9 (1846), translated in Thomas 5. Grey, "Wagner Introduces Wagner (and Beethoven): Program Notes Written for Concert Performances by and of Richard Wagner," in Richard Wagner and His World, ed. Thomas 5. Grey (Princeton and Oxford: Princeton University Press, 2009), 480-90. Historical/Analytical Studies Maynard Solomon, "Beethoven's Ninth Symphony: A Search for Order,“ 79th-Centu1yMus/c10 (1986): 3‐23. Interiority Music John Field, Nocturne No.4 in A Major(1817) Franz Schubert, Momentmusicalin A flat Major, Op. 94, No. 6, D. 780 (ca. 1823‐28) Franz Schubert, Impromptu in Eflat Major, Op. 90, No.2, D. 899 (1827) Clara Schumann, Soirées Musicales, 0p. 6 (1836) : 0 No.2, Notturno in F Major Primary Sources Wilhelm Wackenroder, ”Das merkardige musikalische Leben des TonkUnstlersJoseph Berglingei" (1797), translated as "The Remarkable Musical Life of the Musicianjoseph Berglinger" in Strunk’sSource Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1061-72. Franz Liszt, Preface tojohn Field, 18Nocturnes(1859), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Musicin the Western World: A Historyin Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),311‐13. Historical/Analytical Studies Nicholas Temperley, "John Field and the First Nocturne," Music& Letters56 (1975): 335‐40. Projections of Subjectivity Music Franz Schubert, "Nachthelle," D. 892 (1826) Franz Schubert, String Quintet in C Major, D. 956 (1828): 0 First movement,Allegro ma non troppo Franz Schubert, Piano Sonata in Bflat Major D. 960 (1828): 0 First movement, Molto moderato Primary Sources Franz Schubert,notebook entries from 25 March 1824 to 29 March 1824, as translated in Otto Erich Deutsch, ed., Schubert:A DocumentaryBiography, trans. Eric Blom (London:J. M. Dent & Sons, 1946),336‐37. Eduard von Bauernfeld,Josef Kenner, and Josef von Spaun, reminiscences of Schubert collected by biographer Ferdinand Luib (1857‐58), as translated in Otto Erich Deutsch, ed., Schubert: Memoirsby HisFriends, trans. Rosamond Ley andJohn Nowell (NewYork: Macmillan, 1958), 45‐46, 81‐82, and 125‐44. Historical/Analytical Studies Richard L.Cohn, "As Wonderful as Star Clusters: Instrumentsfor Gazing at Tonality in Schubert," 19th-CenturyMusic22 (1999): 213‐32. Lieder im Volkston Music Ludwigvan Beethoven, An die ferne Geliebte, Op. 98 (1816) Franz Schubert, “Heidenrdslein,” Op. 3, No.3, D. 257 (1815) Franz Schubert, “Nahe des Geliebten,“ Op. 5, No. 2, D. 162 (1815) Franz Schubert, Winterreise, Op. 89, D. 911 (1827): o No. 5, "Der Lindenbaum" Primary Sources Johann Abraham Peter Schulz, Preface to Liederim Volkston, 2nd ed. (Songs in the Tone of the People, 1785),translated by David Gramit in CultivatingMusic: The Aspirations, Interests, andLimitsof German MusicalCulture, 1770‐7848(Berkeley, Los Angeles, and London: University of California Press, 2002), 66‐67. Johann Wolfgang von Goethe, miscellaneous writings on music and song (1801‐23), excerpted from Lorraine Byrne Bodley, Schubert’s Goethe Settings(Hampshire and Burlington: Ashgate, 2003), 3‐24. Historical/Analytical Studies Walter Frisch, "Schubert's Nahe des Ge/iebten (D. 162):Transformation of the Volkston," in Schubert: CriticalandAnalytical Studies, ed. Walter Frisch (Lincoln and Nebraska: University of Nebraska Press), 175‐99. Music of Nationhood Music Felix Mendelssohn, Symphony No. Sin D Minor,Op. 107 ("Reformation," 1830): 0 First movement,Andante ‐ Allegro con fuoco 0 Fourth movement, Andante con moto ‐ Allegro vivace ‐ Allegro maestoso Felix Mendelssohn, Paulus, Op. 36 (1834‐36): 0 Overture, No. 1 ("Herr! Du bist der Gott"),and No. 2 ("Allein Gott in der Hoh' sei Ehr’") o No. 35, Recitative ("Da das die Apostel horen") and Chorus ("Aber unser Gott ist im HimmeI") Primary Sources Felix Mendelssohn and Abraham Mendelssohn, excerpts from the letters of 1SJune 1830, 16 October 1830, 15July 1831, 6 October 1831, 4 March 1833, and 10 March 1835, astranslated inJudith Silber, ”Mendelssohn and His ‘Reformation' Symphony," journalof the American MusicologicalSociety40 (1987): 310‐36; Lettersfrom ItalyandSwitzerlandby Felix Mendelssohn Bartholdy, trans. Lady Wallace (London: Longman, Green, Longman, and Roberts, 1862); and Letters of Felix Mendelssohn Bartholdyfrom 1833 to 1847, ed. Paul Mendelssohn Bartholdy and Carl Mendelssohn Bartholdy, trans. Lady Wallace (London: Longmans, Green, 1867). Historical/Analytical Studies Wolfgang Dinglinger,”The Programme of Mendelssohn's 'Reformation' Symphony," trans.John Michael Cooper, in The Mendelssohns: Their Musicin History, ed.John Michael Cooper andJulie D. Prandi (Oxford: Oxford University Press, 2002), 115‑ 34. Fairy Magic Music Felix Mendelssohn, Octet in Eflat Major, Op. 20 (1825): 0 Third movement, Scherzo Felix Mendelssohn, Overture for A MidsummerNight’s Dream, Op. 21 (1826) HectorBerlioz, Roméo etjuliette, Op. 17(1839): 0 Second part, fourth movement, Scherzo (La reine Mab, reine des songes) Fanny Hensel, Dasjahr, H.385 (1841) o No. 2, "Februar" (Scherzo) Primary Sources Johann Christian Lobe, "Gesprache mit Mendelssohn" (1855), translated as "Conversations with Felix Mendelssohn" by Susan Gillespie in Mendelssohn andHis World, ed. R.LarryTodd (Princeton: Princeton University Press, 1991), 187‐205. Historical/Analytical Studies Francesca Brittan, "On Microscopic Hearing: Fairy Magic, Natural Science, and the Scherzo fantastique,"journalof the American MusicologicalSociety64 (2011): 527‐600. Eroico and Giocoso Music Gioachino Rossini, Tancredi(1813): 0 Act I,Scene 5 (“Oh patria!" [par/ante], "Tu che accendi questo core" [cantabile], and "Di tanti palpiti" [cabaletta]) Gioachino Rossini, L’Italiana in Algeri(1813): o Overture 0 Act I, Finale ‐ Scene 10 ("Viva, viva iI flagel delle donne"), Scene 11 ("Oh! Che muso, che figural"), Scene 12 ("V0’ star con mia nopote"), and Scene 13 (“Pria di dividerci da voi") Primary Sources Gioachino Rossini, et al., embellishments on “Di tanti palpiti," in EmbellishedOpera Arias, ed. Austin B.Caswell, Recent Research in Music of the Nineteenth and Twentieth Centuries, vols. 7‐8 (Madison, WI: A-R Editions, 1989). Stendahl, Vie de Rossini(1824),translated by Richard N. Coe as Life of Rossini(Seattle: University of Washington Press, 1972), 54-57 and 123‐24. Giuseppe Mazzini, Filosofia della musica(1836), translated as Philosophy of Musicin Strunk’sSource Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork