Music in the Romantic Era 1820-1900. –French Revolution Ideals: Libert é, Egalité, Fraternité...
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Transcript of Music in the Romantic Era 1820-1900. –French Revolution Ideals: Libert é, Egalité, Fraternité...
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Music in the Romantic Era
1820-1900
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– French Revolution Ideals: Liberté, Egalité, Fraternité
– Individuality, Emotion, Imagination
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Nationalism and the Spread of Democracy
One of the most meaningful and definitive forces in the 19th century
Throughout Europe people began to promote their own national identities and resist outside authority. This push for national identity created new countries (unification of Italy, formation of German empire, United States).
The principles and practices of democracy were on the rise.
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Social and Political Influences Industrialism
– Occurred first in Britain– Power shifted from aristocratic landowners
to middle class city dwellers – Populations moved from an agrarian
center to an urban center
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The Arts in the Romantic Period
– Stressed Individualism and Emotion
– Breaking away from rules and convention
– Glorification of Nature– Nostalgia– The Macabre and the supernatural– Exotic Influences– Realism
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Victor Hugo (1802-1885)
– French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist
– Explored the Romantic theme of conflict between the individual and society
– Les Miserables, 1862
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Charles Dickens (1812-1870)
– English novelist and social campaigner– Novels are works of social commentary– Fierce critic of poverty and social
stratification
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Karl Marx (1818-1883)
German philosopher and economist The ideas of Marx, while most influential in the 20th century
, said that the history of society is one of struggle between the ruling class (capitalists) and the working class
(proletariat) who are being exploited. He predicted a revolution.
He believed in a society in which all people give according to their means and take according to their needs.”
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Charles Darwin (1809-1882)
– In On the Origin of Species, Darwin argued that all species of life on earth, whether human, animal or plant, were the result of what he called “natural selection”.
– He coined the phrase “survival of the fittest” – He believed that man was simply the end of a long chain
of organisms that stretched back to the first forms of life.
– This theory challenged not only religion but also had social repercussions.
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Art Song and Song Cycle Lieder, chansons, art songs Compositions for solo voice and
piano Poetry and music are intimately
fused Typical forms used: strophic and
through-composed
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Progressives
– Tended to extend the boundaries of traditional sound and scope in their compositions. They utilized new instrumental techniques and color. They used increasingly more chromaticism.
– Composer Examples: Wagner, Liszt, Berlioz and Verdi
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– Importance of nature. Romantics idealized nature in both visual art and music for its power, beauty and unpredictability
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Auguste Rodin (1840-1917)
The Thinker
The Burghers of Calais
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Painting
Eugene Delacroix (1798-1863) – Leader of the Romantic movement,
represented social concerns
Liberty Leading the People, 1831
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Impressionists
Provided transition to the 20th century
Claude Monet (1840-1926) Impression Sunrise, 1872
Rouen Cathedral, 1894
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Edouard Manet (1832-1883)
Dejeuner sur l’herbe, 1863
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Pierre Auguste Renoir (1841-1919)
Le Moulin de la Galette, 1897
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Vincent van Gogh (1853-1890)
Starry Night, 1889
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Music
Musical Milieu – Public and Subscription Concerts– Founding of Conservatories
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Composer
Composers gradually left the patronage system and became free agents of their own works.
This meant that the composer, their music and their livelihood depended on the public’s approval.
Romantics saw themselves as outsiders, isolated from mainstream society, struggling to express their creative ideas.
In general, composers held higher social status than in the Classical period.
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Performer Rise of virtuosic performers the public was captured by virtuosity
and showmanship
Niccolo Paganini Franz Liszt
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Conductor
Resulted from the orchestras growth in numbers and complexity
Became necessary to have one person to lead and control the orchestra
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Musical Elements
Melody– Age of lyricism – unending melody– Melodies appealed to the emotions– Phrases tended to be longer and
irregular in length– Themes were more complex and
utilized chromaticism
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Harmony
By end of the 19th century chromaticism (movement by half steps) stretched tonality to the breaking point
Chromaticism resulted in greater dissonance and tension
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Rhythm
Rhythmic effects were used for “color” – rubato
A new vocabulary of music terms arose that indicated how to achieve the composer’s desired sound – cantabile, dolce, con amore, allegro agitato. These designations produced a more emotional sound and response.
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Timbre/Instrumentation This period saw a full exploration of the
instrumental families. Instruments were used for both their
individual and collective color potential. Instrumental timbre was used to convey
mood and atmosphere. The orchestra became much larger – from 70
players to more than 100 (resulting in the necessity of a conductor).
Instruments could play louder and carry farther.
Instruments were capable of major changes in dynamics.
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Dynamics
Gradual Much wider range – extremes of
dynamic variation Used extensively throughout the
compositions
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Form
Stretching of the classical forms:
sonata-allegro rondotheme and variationminuet and trio
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Strings String sections increased in
size and were given more difficult accompaniment parts (scales, arpeggios)
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Woodwinds
Development of new instruments – saxophone (baritone and tuba) were
invented by Adolf Sax – piccolo, bass clarinet and English
horn were added. Important improvements in wind
instruments– “Boehm system” of fingering for
flutes and clarinets achieved better facility and intonation for the performer and greater musical range
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Brass
• Addition of valves and improvement to valves on brass instruments allowed the playing of a full chromatic compass for the first time and to more easily play quick runs of notes
• Tubas and Trombones were added
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Percussion Expanded to include bass drum,
snare drum, cymbals and other exotic percussion instruments (gong, castanets)
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Ludwig Von Beethoven1770-1827
Crucial figure in the transition from Classical to Romantic
His music reflects intellectual depth, innovations and their intense, highly personal expression. For example, the String Quartet, Opus 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement
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Clara Wieck Schumann (1819-1896)
German composer and pianist Married Robert Schumann and
premiered many of his piano compositions
Composed a piano concerto, piano trio, solo piano pieces and songs
Liebst du um Schönheit, 1841 Poem by Friedrich Rückert Modified strophic form
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Frédéric Chopin (1810-1849)
Polish composer and pianist Lived in Paris for most of his life Associated with George Sand
(Aurore Dudevant) The only major composer to have
completely oriented his creative life around the piano.
Piano compositions are generally dances or free-form works (preludes, etudes, nocturnes and impromptus).
Nocturne in E-Flat Major, Op. 9, No. 2, 1830-1831
Night piece
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Franz Liszt (1811-1886)
Hungarian composer and virtuosic pianist
Showman Daughter married Wagner Innovative composer both
harmonically and formally. Used complex and unusual chords Created the symphonic poem and
utilized thematic transformation (influenced Wagner)
Composed two symphonies, symphonic poems, piano music, orchestral and operatic transcriptions
Transcendental Etude No. 10 in F Minor, 1851
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Vocal Genres
Opera Music Drama Mass and Requiem Art Song
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Giuseppe Verdi (1813-1901)
Italian composer of 15 operas, a Requiem, a string quartet
His music became a symbol of the Italian liberation movement (struggle against Austrian domination)
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Giacomo Puccini (1858-1924)
Italian opera composer Unlike Verdi and Wagner –
did not involve himself in politics
Known for his beautiful lyricism (critics often cite a “popular” less-crafted style of composition)
La Bohème
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Richard Wagner (1813-1883)
German composer for the stage – music dramas
Rejecting Italian opera, Wagner worked out a theory about combining poetry, music, philosophy and drama into one “complete art work” – music drama.
He had complete control of every aspect of these music dramas – music, libretto, staging, costumes
Incorporated German folktales and legends
Used “leitmotifs” – thematic transformation
Extreme use of chromaticism
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Instrumental Music
Absolute music tended to reflect the Classical heritage of Mozart and Haydn; it tended to be more traditional in compositional style and instrumentation
Symphony, concerto, sonata, string quartet
Program music was compositionally guided by a story, poem, idea or scene; it tended to be more progressive in compositional style and instrumentation
Program symphony, Tone poem, Symphonic poem
Character Pieces
In contrast to the large instrumental genres, these were smaller pieces typically for piano called character
pieces
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Composers
Traditionalists– Tended to compose in the style of
their teachers (classical era). While extending the elements of music, they rarely went outside of the norms.
– Composer Examples: Brahms, Tchaikovsky Schumann, Mendelssohn, Franck, Schubert, Chopin, Mussorgsky, Rimsky-Korsakov, Puccini, Fanny Mendelssohn Hensel, Clara Schumann
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Johannes Brahms (1833-1897)
German composer – 4 symphonies, violin concerto, string quartets, 200 lieder, German Requiem
Befriended by the Schumann family Classicist in the Romantic period –
often criticized for being “out of step” with the music of his time.
Preferred to say new things within traditional forms
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Hector Berlioz (1803-1869)
French composer of programmatic works.
Most of his works call for huge instrumental and vocal forces
Very influential in his techniques and writing about orchestration
Symphonie fantastique, 1830 Program symphony in five
movements Uses idée fixe – thematic
transformation