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Charles Rosen | 744 pages | 02 May 2011 | HARVARD UNIVERSITY PRESS | 9780674779341 | English | Cambridge, Mass, United States Romanticism - Wikipedia

Rosen explains and Charles Rosen is an internationally respected pianist. A pupil of Moriz Rosenthal, he has performed and recorded a wide repertoire from Bach to Pierre Boulez. The Romantic Generation. Charles Rosen. An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and The Romantic Generation doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates The Romantic Generation observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context. Rosen covers a remarkably broad range of music history and considers the importance to nineteenth-century music The Romantic Generation other cultural developments: the art of landscape, a changed approach to the sacred, the literary fragment as a Romantic art form. He sheds new light on the musical sensibilities of each composer, studies the important genres from nocturnes and songs to symphonies and operas, explains musical principles such as the relation between a musical idea and its realization in sound and the interplay between music and text, and The Romantic Generation the origins of musical ideas prevalent in the Romantic period. The Fragment as The Romantic Generation form 48 Open and closed 51 Words. Horn calls Landscape and music Landscape and the double time. Fourbar phrases. Counterpoint The Romantic Generation the Narrative Forms. Sonnet no SelfPortrait as Don Juan. Liberation from the Central European Tradition. Mastering Beethoven Transforming Classicism Classical form and mod. Politics Trash and High. Politics The Romantic Generation melodrama Popular art Bellini Meyerbeer. Poetic inspiration and craft Counterpoint and the single line Narrative. Keyboard exercises Virtuosity and decoration salon music? From the Miniature Genre to the Sublime Style. Folk music? On Creation as Performance. Triumph and Failure of the Romantic Ideal. Index of Names and Works. ONE Music and Sound. About the Romantic Period

The romantic period is a term applied to the literature of approximately the first third of the nineteenth century. During this time, literature began to move in channels that were not entirely new but were in strong contrast to the standard literary The Romantic Generation of the eighteenth century. How the word romantic came to be applied to this period is something of a puzzle. Originally the word was applied to the Latin or The Romantic Generation dialects used in the Roman provinces, especially France, and to the stories written in these dialects. Romantic is a derivative of romant, which was borrowed from the French romaunt in the sixteenth century. At first it meant only "like the old romances" but gradually it began to carry a certain taint. Romantic, according to L. Smith in his Words and Idiomsconnoted "false and fictitious beings and feelings, without real existence in fact or in human nature"; it also suggested "old castles, mountains and forests, pastoral plains, waste and solitary places" and a "love for wild nature, for mountains and moors. The word passed from England to France and Germany late in the seventeenth century and became a critical term for certain poets who scorned and rejected the models of the past; they The Romantic Generation themselves The Romantic Generation their freedom from eighteenth-century poetic codes. In Germany, The Romantic Generation, the word was used in strong opposition to the term classical. The grouping together of the so-called Lake poets Wordsworth, Coleridge, and Southey with Scott, Byron, Keats, and Shelley as the romantic The Romantic Generation is late Victorian, apparently as late as the middle s. And it should be noted that these poets did not recognize themselves as "romantic," although they were familiar with the word and recognized that their practice differed from that of the eighteenth century. The reaction to the standard literary practice and critical norms of the eighteenth century occurred in many areas and in varying degrees. Reason no longer held the high place it had held in the eighteenth century; its place was taken by imagination, emotion, and individual sensibility. The eccentric and the singular took the place of the accepted conventions of the age. A concentration on the individual and the minute replaced the eighteenth-century insistence on the universal and the general. Individualism replaced objective subject matter; probably at no other time has the The Romantic Generation used himself as the subject of his literary works to such an extent as during the romantic period. Writers tended to regard themselves as the most interesting subject for literary creation; interest in urban life was replaced by an interest in nature, particularly in untamed nature and in solitude. Classical literature quickly lost the esteem which poets like Pope had given it. The romantic writers turned back to their own native traditions. The Medieval and Renaissance periods were ransacked for new subject matter and for literary genres that had fallen into disuse. The standard eighteenth-century heroic couplet was replaced by a variety of forms such as the ballad, the metrical romance, the sonnet, ottava nina, blank verse, and the Spenserian stanza, all of which were forms that had been neglected since Renaissance times. The romantic writers responded The Romantic Generation to the impact of new forces, particularly the French Revolution and its promise of liberty, equality, and fraternity. The humanitarianism that had been developing during the eighteenth century was The Romantic Generation up enthusiastically by the romantic writers. Wordsworth, the great champion of the spiritual and The Romantic Generation values of physical nature, tried to show the natural dignity, goodness, and the worth of the common man. The combination of new interests, new attitudes, and fresh forms produced a body of literature that was strikingly different The Romantic Generation the literature of the eighteenth century, but that is not to say that the eighteenth century had no influence on the romantic movement. Practically The Romantic Generation of the seeds of the new literary crop had been sown in the preceding century. The romantic period The Romantic Generation the work of two generations of writers. The first generation was born during the thirty and twenty years preceding ; the second generation was born in the last decade of the s. The essayist Thomas De Quincey, born infalls between the two generations. Keats and Shelley belong to the second generation, along with Byron, who was older than they were by a few The Romantic Generation. All three were influenced by the work of the writers of the first generation and, ironically, the careers of all three were cut short by death so that the writers of the first generation were still on the literary scene after the writers of the second generation had disappeared. The major writers of the second romantic generation were primarily poets; they produced little prose, outside of their letters. Another striking difference between the two generations is that the writers of the first generation, with the exception of Blake, The Romantic Generation gained literary reputations during their lifetime. Of the writers of the second generation, only Byron enjoyed fame while he was alive, more fame than any of the other romantic writers, with perhaps the The Romantic Generation of Scott, but Keats and Shelley had relatively few readers while they were alive. It was not until the Victorian era that Keats and Shelley became recognized as major romantic poets. Previous "To Autumn". Next Quiz. Removing book from your Reading List will also remove any bookmarked pages associated with this title. Are you sure you want to remove bookConfirmation and any corresponding bookmarks? My Preferences My Reading List. Keats' Poems John Keats. About the Romantic Period. Adam Bede has been added to your Reading List! The Romantic Generation — Charles Rosen | Harvard University Press

Romanticism also known as the Romantic era was an artistic, literary, musical and intellectual movement that originated in Europe towards the The Romantic Generation of the 18th century, and in most areas was at its peak in the approximate period from to Romanticism was characterized by its emphasis on The Romantic Generation and individualism as well The Romantic Generation glorification of all the past and nature, preferring the medieval rather than the classical. It was partly a reaction to the Industrial Revolution[1] the aristocratic social and political norms of the Age of Enlightenmentand the scientific rationalization of nature—all components of modernity. The movement emphasized The Romantic Generation emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehensionhorror and terrorand awe —especially that experienced in confronting the new aesthetic categories of the sublimity and beauty of nature. It elevated folk art and ancient custom to The Romantic Generation noble, but also spontaneity as a desirable characteristic as in the musical impromptu. In contrast to the Rationalism and Classicism of the EnlightenmentRomanticism revived medievalism [7] and elements of art and narrative perceived as authentically medieval in an attempt to escape population growth, early urban sprawland industrialism. Although the movement was rooted in the German Sturm und Drang movement, which preferred intuition and emotion to the rationalism of the Enlightenment, the events and ideologies of the French Revolution were also proximate factors. Romanticism assigned a high value to the achievements of "heroic" individualists The Romantic Generation artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a Zeitgeistin the The Romantic Generation of its ideas. In the second half of the 19th century, Realism was offered as a The Romantic Generation opposite The Romantic Generation Romanticism. The nature of Romanticism may be approached from the primary importance of the free expression of The Romantic Generation feelings of the artist. The importance the Romantics placed on emotion is summed up in the The Romantic Generation of the German painter Caspar David Friedrich"the artist's feeling is his law". To express these feelings, it was considered The Romantic Generation content of art had to come from the imagination of the artist, with as little interference as possible from "artificial" rules The Romantic Generation what a work should consist of. Samuel Taylor Coleridge and others believed there were natural laws the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. The concept of the geniusor artist The Romantic Generation was able to produce his own original work through this process of creation from nothingnessis key to Romanticism, and to be derivative was the worst sin. Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. This particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. In contrast to the usually very social art of the EnlightenmentRomantics were distrustful of the human world, and tended to believe a close connection with nature was mentally and morally healthy. Romantic art addressed its audiences with what was intended to be felt as the personal voice of the artist. So, in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves". According to Isaiah BerlinRomanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals". The group of words with the root "Roman" in the various European languages, such as "romance" and "Romanesque", has a complicated The Romantic Generation. By the s, European languages — notably German, French and Russian — were using the term "Roman" in the sense of the English word " novel ", i. The founders of Romanticism, critics August Wilhelm Schlegel and Friedrich SchlegelThe Romantic Generation to speak of romantische Poesie "romantic poetry" in the s, contrasting it with "classic" but in terms of spirit rather than merely dating. The period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place "roughly between and ", [27] and few dates much earlier than will be found. In English literature, M. Abrams placed it betweenorthis latter a very typical view, and aboutperhaps a The Romantic Generation later than some other critics. The The Romantic Generation period of the Romantic era was a time of war, with the French Revolution — followed by the Napoleonic Wars until These wars, along with the political and social turmoil that went along with them, served as the background for Romanticism. The first emerged in the s and s, the second in The Romantic Generation s, and the third later in the century. The more precise characterization and specific definition of Romanticism has been the subject of debate in the fields of intellectual history and literary history throughout the 20th century, without any great measure of consensus emerging. That it was part of the Counter-Enlightenmenta reaction against the Age of EnlightenmentThe Romantic Generation generally accepted in current scholarship. Its relationship to the French Revolutionwhich began in in the very early stages of the period, is clearly important, but highly variable depending on geography and individual reactions. Most Romantics can be said to be broadly progressive in their views, but a considerable number always had, or developed, a wide range of conservative views, [34] and nationalism was in many countries strongly associated with Romanticism, as discussed in detail below. In philosophy and the history of ideas, Romanticism The Romantic Generation seen by Isaiah Berlin as disrupting for over a century the classic Western traditions of rationality and the idea of moral absolutes and agreed values, leading "to something like the melting away of the very notion of objective truth", [35] and hence not only to nationalism, but also fascism and totalitarianismwith a gradual recovery coming only after World War II. This is most evident in the aesthetics of romanticism, where the notion of eternal models, a Platonic vision of ideal beauty, which the artist seeks to convey, however imperfectly, on canvas or in sound, is replaced by a passionate belief in spiritual freedom, individual creativity. The painter, the poet, the composer do not hold up a mirror to nature, however ideal, but invent; they do not imitate the doctrine of mimesisbut create not merely the means but the goals that they pursue; these goals represent the self-expression of the artist's own unique, inner vision, to set aside which in response to the demands of some "external" voice—church, state, public opinion, family friends, arbiters of taste—is an act of betrayal of what alone justifies their existence for those who are in any sense creative. Arthur Lovejoy attempted to demonstrate the difficulty of defining Romanticism in The Romantic Generation seminal article "On The Discrimination of Romanticisms" in his Essays in the History of Ideas ; some scholars see Romanticism as essentially continuous with the present, some like Robert Hughes see in it the inaugural moment of modernity[38] and some like The Romantic GenerationNovalis and Samuel Taylor Coleridge see it as the beginning of a tradition of resistance to Enlightenment rationalism—a "Counter-Enlightenment"— [39] [40] to be associated most closely The Romantic Generation German Romanticism. An earlier definition comes from Charles Baudelaire : "Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling. The end of the Romantic era is marked in some areas by a new style of Realismwhich affected literature, especially the novel and drama, painting, and even music, through Verismo opera. This movement was led by France, with Balzac The Romantic Generation Flaubert in literature and Courbet in painting; Stendhal and Goya were important precursors of Realism in their respective media. However, Romantic styles, now often representing the established and safe style against The Romantic Generation Realists rebelled, continued to flourish in many fields for the rest of the century and beyond. In music such The Romantic Generation from after about are referred to by some writers as "Late Romantic" and by others as "Neoromantic" or "Postromantic", but other fields do not usually use these terms; in English literature and painting the convenient term "Victorian" The Romantic Generation having to characterise the period further. In northern Europe, the Early Romantic visionary optimism and belief that the world was in the process of great change and improvement had largely vanished, and some art became more conventionally political and polemical as its creators engaged polemically with the world as it was. Elsewhere, including in very different ways the United States and Russia, feelings that great change was underway or just about to come were still possible. Displays of The Romantic Generation emotion in art remained prominent, as did the exotic and historical settings pioneered by the The Romantic Generation, but experimentation with form and technique was generally reduced, often replaced with meticulous technique, as in the poems of Tennyson or many paintings. If not realist, late 19th-century art was often extremely detailed, and pride was taken in adding authentic details in The Romantic Generation way that earlier Romantics did not trouble with. Many Romantic ideas about the nature and purpose of art, above all the pre-eminent importance of originality, remained important for later generations, and often underlie The Romantic Generation views, despite opposition from theorists. In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of " sensibility " with its emphasis on women and children, the isolation of the artist or narrator, and respect for nature. Romanticism tended The Romantic Generation regard satire as something unworthy of serious attention, a prejudice still influential today. Some authors cite 16th-century poet Isabella di Morra as an early precursor of Romantic literature. Her lyrics covering themes of isolation and loneliness, which reflected the tragic events of her life, are considered "an impressive prefigurement of Romanticism", [43] differing from the Petrarchist fashion of the time The Romantic Generation on the philosophy of love. The precursors of Romanticism in English poetry go back to the middle of the 18th century, including figures such as Joseph Warton headmaster at Winchester College and his brother Thomas WartonProfessor of Poetry at Oxford University. The Scottish poet James Macpherson influenced the early development of Romanticism with the international success of his Ossian cycle of poems published ininspiring both Goethe and the young Walter Scott. Thomas Chatterton is generally considered the first Romantic poet in English. The Gothic novelbeginning with Horace Walpole 's The Castle of Otrantowas an important precursor of one strain The Romantic Generation Romanticism, with a delight in horror and threat, and exotic picturesque settings, matched in Walpole's case by his role in the early revival of Gothic architecture. Tristram Shandya novel by Laurence Sterne —67introduced a whimsical version of the anti-rational sentimental novel to the English literary public. An early German influence came from Johann Wolfgang von Goethewhose novel The Sorrows of Young Werther had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament. At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism. Heidelberg later became a centre of German Romanticism, where writers and poets such as Clemens BrentanoAchim von Arnimand Joseph Freiherr von Eichendorff Aus dem Leben eines Taugenichts met regularly in literary circles. Important motifs in German Romanticism are travelling, nature, for example The Romantic Generation German Forestand Germanic myths. The later German Romanticism of, for example E. The significance to Romanticism of childhood innocence, the importance of imagination, and racial theories all combined to give an unprecedented importance to folk literaturenon-classical mythology and children's literatureabove all in Germany. Brentano and von Arnim were significant literary figures who together published Des Knaben Wunderhorn "The Boy's Magic Horn" or cornucopiaa collection of versified folk tales, in — One The Romantic Generation the brothers, Jacobpublished in Deutsche Mythologiea long academic work on Germanic mythology. The publication in of Lyrical Balladswith many of the finest poems by Wordsworth and Coleridge, is often held to mark the start of the movement. The majority of the poems were by Wordsworth, and many dealt with the lives of the poor in his native Lake Districtor his The Romantic Generation about nature—which he more fully developed in his long poem The Preludenever published in his lifetime. The longest poem in the volume was Coleridge's The Rime of the Ancient Marinerwhich showed The Romantic Generation Gothic side of English Romanticism, and the exotic settings that many works featured. In the The Romantic Generation when they were writing, the Lake Poets were widely regarded as a marginal group of radicals, though they were supported by the critic and writer William Hazlitt and others. In contrast, Lord Byron and Walter Scott achieved enormous fame and influence throughout Europe with works exploiting the violence and drama of their exotic and historical settings; Goethe called Byron "undoubtedly The Romantic Generation greatest genius of our century". Both were set in the distant Scottish past, already evoked in Ossian ; Romanticism and Scotland were to have a long and fruitful partnership. Byron had equal success with the first part The Romantic Generation Childe Harold's Pilgrimage infollowed by four "Turkish tales", all The Romantic Generation the form of long poems, starting with The Giaour indrawing from his Grand Tourwhich had reached Ottoman Europe, and orientalizing the themes of the Gothic novel in verse. These featured different variations of the " Byronic hero ", and his own life contributed a further version. Scott meanwhile was effectively inventing the historical novelbeginning in with Waverleyset in the Jacobite risingwhich was an enormous and highly profitable success, followed by over 20 further Waverley Novels over the next 17 years, with settings going back to the Crusades that he had researched to a degree that was new in literature. In contrast to Germany, Romanticism in English literature had little connection with nationalism, and the Romantics were often regarded with suspicion for the sympathy many felt for the ideals of the French Revolutionwhose collapse and replacement with the dictatorship of Napoleon was, as elsewhere in Europe, a shock to the movement. Though his novels celebrated The Romantic Generation identity and history, Scott was politically a firm Unionist, but admitted to Jacobite sympathies. Several spent much time abroad, and a famous stay on Lake Geneva with Byron and Shelley in produced the hugely influential novel Frankenstein by Shelley's wife-to-be Mary Shelley and the novella The Vampyre by Byron's doctor John William Polidori. The lyrics of Robert The Romantic Generation in Scotland, and Thomas Moore from Ireland, reflected in different ways their countries and the Romantic interest in folk literature, but neither had a fully Romantic approach to life or their work. Byron is now most highly regarded for his short lyrics and his generally unromantic prose writings, especially his letters, and his unfinished satire Don Juan. Wordsworth was by respectable and highly regarded, holding a government sinecurebut wrote relatively little. In the discussion of English literature, the Romantic period is often regarded as finishing around the s, or sometimes even earlier, although many authors of the succeeding decades were no less committed to Romantic values. The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane Austenwhose essentially conservative world-view had little in common with her Romantic contemporaries, retaining a strong belief in decorum and social rules, though critics such as Claudia L. Johnson have detected tremors under the surface of many works, such as Northanger AbbeyMansfield Park and Persuasion While these two novels were written and published after the Romantic period is said to have ended, their novels were heavily influenced by Romantic literature they'd read as children. Byron, Keats and Shelley all wrote for the stage, but with little success in England, with Shelley's The Cenci perhaps the best work produced, though that was not played in a public theatre in England until a century after his death. Byron's plays, along with dramatizations of his poems and Scott's novels, were much more popular on the Continent, and especially in France, and through these versions several were turned into operas, many still performed today. If contemporary poets had little success on the stage, the period was a legendary one for performances of Shakespeareand went some way to restoring his original texts and removing The Romantic Generation Augustan "improvements" to them. The greatest actor of the period, Edmund Keanrestored the tragic ending to King Lear ; [53] Coleridge said that, "Seeing him act was like reading Shakespeare by flashes of lightning. Although after union with England in Scotland increasingly adopted English language and wider cultural norms, its literature developed a distinct national identity and began to enjoy an international reputation. Allan Ramsay — laid the foundations of a reawakening of interest in older Scottish literature, as The Romantic Generation as leading the trend for pastoral poetry, helping to develop the Habbie stanza as a poetic form. Claiming to The Romantic Generation found poetry written by the ancient bard Ossianhe published translations that acquired international popularity, being proclaimed as a Celtic equivalent of the Classical epics. Fingalwritten inwas speedily translated into many European languages, and its appreciation of natural beauty and treatment of the ancient legend has been credited more than any single work with bringing about the Romantic movement in European, and especially in German literature, through its influence The Romantic Generation Johann Gottfried von Herder and Johann Wolfgang von Goethe. Robert Burns —96 and Walter Scott — were highly influenced by the Ossian cycle. The Romantic Generation, an Ayrshire poet and lyricist, is widely regarded as the national poet of Scotland and a major influence on the Romantic movement. His poem and The Romantic Generation " Auld Lang The Romantic Generation " is often sung at The Romantic Generation the last day of the yearThe Romantic Generation " The Romantic Generation Wha Hae " served for a long time as an unofficial national anthem of the country. His first prose work, Waverley inis often called the first historical novel. Scott probably did more than any other figure to define and popularise Scottish cultural identity in the nineteenth century.