6 th brief edition by roger kamien part v: the romantic period (1820-1900) © 2008 the mcgraw-hill...
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66thth Brief Edition Brief Editionby Roger Kamienby Roger Kamien
Part V:Part V:The Romantic The Romantic
Period Period (1820-1900)(1820-1900)
© 2008 The McGraw-Hill Companies, Inc. All rights reserved.
Music: An AppreciationMusic: An Appreciation
Presentation Development by Robert ElliottTennessee State University
Time LineTime Line
Monroe Doctrine 1823
Hugo: Hunchback of Notre Dame 1831
Dickens: Oliver Twist 1837
Dumas: The Three Musketeers 1844
Poe: The Raven 1845
Darwin: Origin of Species 1859
American Civil War 1861-1865
Twain: Huckleberry Finn 1884
Bell invents telephone 1876
PART V—THE ROMANTIC PERIOD
Romanticism (1820-1900)Romanticism (1820-1900)
PART V—THE ROMANTIC PERIOD
Stressed emotion, imagination, and individualismStressed emotion, imagination, and individualism
Emotional subjectivity basis of arts
Favorite artistic topics:– Fantasy and the supernatural
Period of the Industrial Revolution– Resulted in social and economic changes
– Middle Ages/concept of chivalry and romance
– Nature as mirror of the human heart
- Architecture revived Gothic elements
Chapter 1: Romanticism in MusicChapter 1: Romanticism in Music
Many important Romantic composersMany important Romantic composers
Franz Schubert Bedrich Smetana
Antonin Dvořák
Peter Tchaikovsky
Johannes Brahms
Giuseppe Verdi
Giacomo Puccini
Richard Wagner
Robert Schumann
Clara Schumann
Frederic Chopin
Franz Liszt
Felix Mendelssohn
Hector Berlioz
Chapter 1
– Much individual alteration and adjustment
Continued use of classical period forms
Greater range of tone color, dynamics, and pitch than in classical period
Expanded harmony—complex chords
Chapter 1
Characteristics of Romantic Music
Individuality of Style
Composers wanted uniquely identifiable music
– Worked to find their own voice
In romantic music, it is far easier to identify
individual composers through listening
Chapter 1
Expressive Aims and Subjects
Dark topics draw composers
All approaches were explored:– Flamboyance, intimacy, unpredictability, melancholy,
rapture, longing, …
Romantic love still the focus of songs and operas– Lovers frequently depicted as unhappy and facing
overwhelming obstacles
Chapter 1
Nationalism and Exoticism
Nationalism: music with a national identity
Exoticism: intentionally implies a foreign culture
– Makes use of melodies, rhythms, and instruments
associated with distant lands
– Uses folk songs, dances, legends, and history of a land
– Frequently employed in operas with foreign settings
Chapter 1
Program MusicAssociation with a story, poem, idea, or scene
– Understanding the music is enhanced through reading the program or viewing the associated work
– Though common in the romantic, concept had been employed for centuries previously
- E.g., La Primavera (from the Four Seasons) by Vivaldi
– Many Romantic composers were also authors
– Made possible a “union of the arts”- Poets wanted their poetry to be musical- Musicians wanted their music to be poetic
Chapter 1
Expressive Tone ColorComposers tried to create unique sounds
– Blending of existing instruments– Addition of new instruments– Never before had timbre been so important
Enlarged orchestra allowed more instrument colors– Classical 20-60 members vs. Romantic ~100
Advances in instrument design allowed more color
- Berlioz: Treatise on Modern Instrumentation and Orchestration
(1844)
– Valved brass instruments could now play melodies– Piano design improved and range was extended
– Orchestration came to be regarded as an art form
Chapter 1
Colorful Harmony
Chords built with notes not in traditional keys
– Chromatic harmony
Harmonic instability a consciously used device
– Wide use of keys
– Frequent and rapid modulation
Chapter 1
Expanded Range of Dynamics, Pitch, and Tempo
Dynamics ff, pp expanded to ffff and pppp
Extremely high and low pitches were added
Changes in mood frequently underlined by (sometimes subtle) shifts in tempo
– Rubato: slight holding back or pressing forward of tempo
Chapter 1
Forms: Miniature and Monumental
Some composers went on for hours
Others’ music lasted only a few minutes
– Written for a single instrument
– Required hundreds of performers
Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other classically traditional works
Chapter 1
Chapter 2: Romantic Composers and Their Public
Demise of the patronage systemDemise of the patronage system
– Composers regarded themselves as “free spirits”
– Decline in aristocratic fortune—Napoleonic wars
New urban classes and new musical topics
Public was entranced by virtuosity
Music conservatories founded in Europe and U.S.
Chapter 2
Private music-making increased
Composers and audience came from the same social class
Few composers were financially successful
– Piano became fixture in most homes
– Most supported themselves through performing, teaching lessons, and/or authoring
Chapter 2
Chapter 3: The Art Song
Composition for solo voice and pianoComposition for solo voice and piano– Accompaniment integral part of the song
– Composers interpret poem’s, mood, atmosphere and imagery into music- Mood often set at beginning with piano introduction and
summed up at end with piano postlude
Linked to vast amount of poetry in this period
Chapter 3
Strophic and Through-Composed Form
Strophic form repeats music for each verse
Through-composed—new music for each verse
Sometimes modified strophic form used
The Song Cycle
Group of songs unified in some manner
– Storyline or musical idea may link the songs
Chapter 3
Chapter 4: Franz Schubert
Born in Vienna (1797-1828)Born in Vienna (1797-1828)
Early Romantic composer
Prodigious output
– When eh was 18 years old, he wrote 143 songs
- Included two symphonies, an opera, and a mass
Not financially successful– His symphonies were not performed until after his death
– At 19 years of age, he wrote 179 works
Chapter 4
Schubert’s Music
Wrote over 600 songs
– Also symphonies, string quartets, other chamber music,
sonatas, masses, operas, and piano works
- The Unfinished Symphony: only two movements, not four
Chapter 4
ListeningListening
ErlkonigErlkonig ( (The Erlking; The Erlking; 1815)1815)Franz SchubertFranz Schubert
Vocal Music Guide: p. 223Vocal Music Guide: p. 223Brief Set, CD 3:12Brief Set, CD 3:12
Based upon narrative ballad with supernatural topic by GoetheBased upon narrative ballad with supernatural topic by Goethe
Listen for:Listen for: Through-composed formThrough-composed form
Piano portrays galloping horsePiano portrays galloping horse
Different characters have their notes pitched atDifferent characters have their notes pitched atdifferent levels to emphasize dialogdifferent levels to emphasize dialog
Dramatic endingDramatic ending
Chapter 4
Chapter 5: Robert Schumann
German, early to mid-romantic (1810-1856)German, early to mid-romantic (1810-1856)
– Problem with hand ended his ambition
Wanted to be piano virtuoso
Temperamentally unsuited for some of the musical positions he attempted
Married his piano teacher’s daughter
Committed to asylum, where he died
- Treatments and gadget made problem worse
Chapter 5
Robert Schumann’s Music
Wrote piano pieces, art songs, and later symphonies– Piano pieces and art songs frequently in cycles
Known for his gift for melody
Chapter 5
ListeningListening
From From CarnavalCarnaval (1834), a cycle of program (1834), a cycle of program music by Robert Schumannmusic by Robert Schumann
Estrella, for his first fiancéeTernary form, note syncopation in B sectionListening Guide p. 227 Brief Set, CD 3:18
Reconnaissance (Reunion)Ternary form, note B section shift from homophonic to polyphonic textureListening Guide p. 227 Brief Set, CD 3:20
Chapter 5
Chapter 6: Clara Wieck Schumann
German (1819-1896)German (1819-1896)
A leading nineteenth-century pianist
Pair was friends with Johannes Brahms
Married Robert Schumann
– One of first well-known women composers
– Stopped composing after his death
– Focused on performing his works
Chapter 6
Clara Wieck Schumann’s Music
Stopped composing at age 36
– Considered herself primarily a performer
– Wrote:
- Perhaps related to negative attitude toward women composers
- Possibly due to her close association with overwhelming
geniuses like Brahms and her husband
- Songs
- Piano pieces
- A piano concerto
- A trio for piano, violin, and cello
Chapter 6
ListeningListening
Liebst du um SchonbeitLiebst du um Schonbeit((If you love for beauty; If you love for beauty; 1841)1841)Clara Wieck SchumannClara Wieck Schumann
Vocal Music Guide: p. 230Vocal Music Guide: p. 230Brief Set, CD 3:22Brief Set, CD 3:22
Based upon a poem by RuckertBased upon a poem by Ruckert
Listen for:Listen for: Varied strophic form ( A A’ A” )Varied strophic form ( A A’ A” )
Folk-like quality of melodyFolk-like quality of melody
Piano fills in spaces in vocal melody at times andPiano fills in spaces in vocal melody at times and at others responds to or continues vocal melody at others responds to or continues vocal melody
Chapter 6
Chapter 7: Frederic Chopin
Polish-born musician (1810-1849)Polish-born musician (1810-1849)
Early to mid-romantic composer
Wrote almost exclusively for piano
Went to Paris at age 21
– Europe’s romantic period artistic capital
– Made extensive use of piano pedals
Composed mostly for chamber concert
– Avoided concert halls
Affair with Aurore Dudevant (a.k.a. George Sand)
Chapter 7
Chopin’s Music
Developed personal style at early age
– Not program music, but evokes an image
– Unique harmonic style influenced others
Most of his pieces are elegant miniatures
Chapter 7
Listening
Nocturne in E Flat MajorNocturne in E Flat Major, op. 9, no. 2, op. 9, no. 2Frederic Chopin (1830-31)Frederic Chopin (1830-31)
Listening Outline: p. 232Listening Outline: p. 232
Brief Set, CD 3:26Brief Set, CD 3:26
Nocturne (night piece)—slow, lyrical, intimate piece for pianoNocturne (night piece)—slow, lyrical, intimate piece for piano
Listen for:Listen for: Expressive, emotional presentation withExpressive, emotional presentation withsubtle shifts in tempo and subtle shifts in tempo and
dynamicsdynamics
Note pedal notation on printed music (p. 233)Note pedal notation on printed music (p. 233)
Chapter 7
Listening
Etude in C MinorEtude in C Minor, Op. 10, no. 12, Op. 10, no. 12((Revolutionary; Revolutionary; 1831?)1831?)Frederic ChopinFrederic Chopin
Listening Outline: p. 234Listening Outline: p. 234Brief Set, CD 3:29Brief Set, CD 3:29
EtudeEtude—study piece focusing upon a specific performance —study piece focusing upon a specific performance techniquetechnique
Listen for:Listen for: Speed and endurance required of left Speed and endurance required of left handhand
Not just a study, but interesting musicNot just a study, but interesting music
Chapter 7
Listening
Polonaise in A Flat MajorPolonaise in A Flat Major, Op. 10, no. 12 (1842), Op. 10, no. 12 (1842)Frederic ChopinFrederic Chopin
Listening Guide: p. 235Listening Guide: p. 235
Basic Set, CD 5:13Basic Set, CD 5:13
PolonaisePolonaise—originated as stately processional dance for Polish —originated as stately processional dance for Polish nobilitynobility
Listen for:Listen for: Triple meterTriple meter
Ternary—A B A’ with codaTernary—A B A’ with coda
Chapter 7
Chapter 8: Franz Liszt
Hungarian-born composer (1811-1886)Hungarian-born composer (1811-1886)
Touring concert pianist until age 36
– Virtuoso pianist
– Incredible performer and showman, a “pop star”
– Retired from touring and took court position
- More time to compose
– Later wrote music foreshadowing twentieth century
Chapter 8
Liszt’s Music
Extremely controversial
Created symphonic poem (tone poem)
Broke away from strict classical forms
– Some call it “bombastic” and “vulgar”
– Others say that it is the ideal music
Chapter 8
Listening
Transcendental Transcendental etude no. 10 in F Minor (1851)etude no. 10 in F Minor (1851)Franz LisztFranz Liszt
Listening Guide: p. 238Listening Guide: p. 238
Basic set, CD 5:18Basic set, CD 5:18
Listen for:Listen for: Shifting tempoShifting tempo
Extreme emotionalismExtreme emotionalism
High degree of difficulty for performerHigh degree of difficulty for performer(virtuoso piece)(virtuoso piece)
Ternary form with a codaTernary form with a coda
Chapter 8
Chapter 9: Felix Mendelssohn
German composer (1809-1847)German composer (1809-1847)
Early to mid-romantic period
– Wrote symphonies, concertos, sonatas, and other works
before he was a teenager
Developed early
Responsible for revival of Bach’s music
Died of a stroke while touring
Chapter 9
Mendelssohn’s Music
Somewhat more conservative
– Avoids emotional extremes
– Projects both elegance and balance
Wrote enormous amount in all forms of his day, except opera
– Only a few of his works are regularly performed today
Chapter 9
Listening
Concerto for Violin and Orchestra in E MinorConcerto for Violin and Orchestra in E Minor, , Op. 64 (1844)Op. 64 (1844)Felix MendelssohnFelix MendelssohnFirst MovementFirst Movement
Listening Guide: p. 240Listening Guide: p. 240
Basic Set, CD 5:24Basic Set, CD 5:24
Listen for: Listen for: Controlled emotionalismControlled emotionalism
Simple, singing melodiesSimple, singing melodies
Cadenza near the end for soloistCadenza near the end for soloist
Chapter 9
Performance Perspective: Performance Perspective: Hilary Hahn, violinistHilary Hahn, violinist
Chapter 10: Program Music
Instrumental music associated with a story, poem, idea, or sceneInstrumental music associated with a story, poem, idea, or scene
– Non-program music is called absolute music
Usually performed with written explanation of
the piece—a program
Chapter 10
In the romantic period, program music was usually for piano or orchestra
– Program symphony: multi-movement/orchestral
Common types:
– Concert overture\: modeled on opera overture
– Symphonic poem (or tone poem): one movement,
orchestral, flexible form
– Incidental music: for use before or during a play
Chapter 10
Chapter 11: Hector Berlioz
French composer (1803-1869)French composer (1803-1869)
Mid-romantic period
– Passionate and unpredictable
Major award for Fantastic Symphony
One of the first of the great conductors
– Autobiographical—program note, p. 248
Wrote unconventional music
Worked as music critic for support
Chapter 11
Berlioz’s Music
Imaginative, innovative orchestrations
Pioneered concept of idee fixe
– Required huge resources
As a pioneer, his work was not always understood by his listening public
Chapter 11
ListeningListening
Symphonie Fantastique Symphonie Fantastique ((Fantastic SymphonyFantastic Symphony))Hector Berlioz (1830)Hector Berlioz (1830)
Fourth Movement: March to the ScaffoldProgram notes: p. 248
Listening Outline: p. 249 Brief Set, CD 3:30
Listen for: Program material and how related to the music
Returning melody for idee fixe
Chapter 11
ListeningListening
Symphonie Fantastique Symphonie Fantastique ((Fantastic SymphonyFantastic Symphony))Hector Berlioz (1830)Hector Berlioz (1830)
Fifth Movement: Dream of a Witches’ SabbathProgram notes: p. 251
Listening Guide: p. 251 Basic Set, CD 5:34
Listen for: Program material and how related to the music
Returning melody for idee fixe
Chapter 11
Chapter 12: Nationalism in Chapter 12: Nationalism in Nineteenth-Century MusicNineteenth-Century Music
National identity grew during the romantic periodNational identity grew during the romantic period– Citizens, not mercenaries, now fought wars– Bonds of language, history, and culture formed
- Led to unifications creating Germany and Italy
Chapter 12
Composers deliberately gave their works distinctive national identity– Use of folksongs and folkdances
– Created original melodies with folk flavor– Wrote operas and program music inspired by native
history, legends, and landscapes
Strongest impact in countries dominated by music of Germany, Austria, Italy and France
Listening
The Moldau The Moldau (1874)(1874)Part of the cycle Part of the cycle Ma Vlast Ma Vlast (My Country)(My Country)Bedrich SmetanaBedrich Smetana
Symphonic poemSymphonic poem depicting the main river that flows thorough depicting the main river that flows thorough the Bohemian (Czech) countrysidethe Bohemian (Czech) countryside
Program notes: p. 254Program notes: p. 254Listening Outline: p. 255Listening Outline: p. 255Brief Set, CD 3:34Brief Set, CD 3:34
Listen for:Listen for: Program material and how composerProgram material and how composerrelated it to the musicrelated it to the music
Chapter 12
Chapter 13: Antonin Dvořák
Followed Smetana composing Czech national music Followed Smetana composing Czech national music
(1841-1904)(1841-1904)
– As teenager, played in orchestra under Smetana
Became director of the National Conservatory of
Music in New York
Later returned to Prague Conservatory
– Urged Americans to write nationalist music
– Wrote From the New World during first year
– Got his break when Brahms heard him
Chapter 13
ListeningListening
Symphony No. 9 in E MinorSymphony No. 9 in E Minor((From the New World;From the New World; 1893) 1893)Antonin DvoAntonin DvořářákkFirst Movement: Adagio; Allegro moltoFirst Movement: Adagio; Allegro molto
Listening Guide: p. 257Listening Guide: p. 257Listening Outline: p. 258Listening Outline: p. 258Brief Set, CD 3:41Brief Set, CD 3:41
Listen for:Listen for: Based upon American folk melodiesBased upon American folk melodiesUse of non-major/minor scalesUse of non-major/minor scalesSonata form (but with 3 themes, not 2)Sonata form (but with 3 themes, not 2)
Chapter 13
Chapter 14: Peter Ilyich Tchaikovsky
Russian, late romantic (1840-1893)Russian, late romantic (1840-1893)
Married, but divorced two weeks later
Supported by benefactress (patron)
– Did not start until age 21
Studied music in Russia
– They corresponded but never met
Traveled Europe and United States
– By age 30 had wreent a symphony, opera, tone poem
and his first great orchestra work
Chapter 14
Tchaikovsky’s Music
Wrote symphonies, concerti, overtures, operas, and
more
Fused Russian folk music and European style
Chapter 14
Listening
Romeo and JulietRomeo and JulietOverture-FantasyOverture-FantasyPeter Ilyich TchaikovskyPeter Ilyich Tchaikovsky
Listening Guide: p. 261Listening Guide: p. 261Basic Set, CD 5:44Basic Set, CD 5:44
Listen for: Depicts events and characters, but is notListen for: Depicts events and characters, but is nota re-telling of the storya re-telling of the story
Different melodies for characters/groupsDifferent melodies for characters/groupsof characters and eventsof characters and events
Love theme has become very well knownLove theme has become very well known
Chapter 14
Chapter 15: Johannes Brahms
German composer (1833-1897)German composer (1833-1897)
Became close friends with the Schumanns– Lived with Clara while Robert in asylum– Lifelong friends with Clara– He never married
Son of a musician (father played bass)– At 13, studied music by day and played by night
Studied earlier composers’ works in detail– Especially Bach, Haydn, Mozart
and Beethoven
Chapter 15
Brahms’s Music
Considered somewhat conservative due to his use
of classical forms
Wrote in all traditional forms except opera
Chapter 15
ListeningListeningSymphony No. 3 in F Major, Op. 90Symphony No. 3 in F Major, Op. 90
Johannes BrahmsJohannes BrahmsThird Movement: Poco AllegrettoThird Movement: Poco Allegretto
Listening Outline: p. 265Listening Outline: p. 265Brief Set, CD 3:48Brief Set, CD 3:48
Listen for: Classical form with romantic harmoniesListen for: Classical form with romantic harmonies
Scherzo form ( A B A )Scherzo form ( A B A )
Triple meter, as in classical 3Triple meter, as in classical 3rdrd movement movement
Reduced instrumentation for movementReduced instrumentation for movement
Chapter 15
Chapter 16: Giuseppe VerdiChapter 16: Giuseppe Verdi
Italian (1813-1901)Italian (1813-1901)
Studied in Busseto and Milan– Supported by patron
– Married patron’s daughter
Mid- and late-romantic composer
– Wrote operas with political overtones- Nationalist, supported unification of Italy
Critics blasted him scandalous subjects– Seemed to condone rape, suicide, and “free love”
Known for opera
Chapter 16
Verdi’s Music
Wrote for middle-class audience
Favorite topic: love story with an unhappy ending– Final opera ends with “All the world’s a joke!”
Chapter 16
Listening
La donna e mobile La donna e mobile ((Woman is fickleWoman is fickle))Aria from Aria from RigolettoRigoletto (1851) (1851)
Giuseppe VerdiGiuseppe Verdi
Listening Guide: p. 269Listening Guide: p. 269
Basic Set, CD 6:20Basic Set, CD 6:20
Listen for:Listen for: Middle-class topic, as in classical periodMiddle-class topic, as in classical period
Text Text
Familiar melodyFamiliar melody
Chapter 16
Chapter 17: Giacomo Puccini
Italian (1858-1924)Italian (1858-1924)
– Known primarily for operas
Late-romantic composer
Became wealthy and world-famous due to the popularity of his music
– Opera La Boheme his first major
success
Chapter 17
Made use of exoticism, setting his operas in foreign places
His operas make use of short melodies, simple phrases, and realistic dialogue
– Artistic style verismo (reality): “true to life”
Puccini’s Music
Chapter 17
Listening
La Boheme La Boheme (1896)(1896)Giocomo PucciniGiocomo PucciniAct I: Scene between Rodolfo and Mimi through Rodolfo’s Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria aria Che gelida manina (How cold your little hand is!)Che gelida manina (How cold your little hand is!)
Storyline of meeting of Rodolfo and Mimi (p. 269)Storyline of meeting of Rodolfo and Mimi (p. 269)
Vocal Music Guide: p. 272Vocal Music Guide: p. 272Brief Set, CD 3:51Brief Set, CD 3:51
Listen for:Listen for:Dialog is more realisticDialog is more realisticTempo shifts to Tempo shifts to
accentuate music and textaccentuate music and text
Performance Perspective: Performance Perspective: Luciano Pavarotti, tenorLuciano Pavarotti, tenor
Listen for performer’s Listen for performer’s interpretation interpretation that that
attempts to make the low notes on words attempts to make the low notes on words
““Che gelida maninaChe gelida manina” full, while sung softly.” full, while sung softly.
Chapter 17
Chapter 18: Richard Wagner
German (1813-1883)German (1813-1883)
Wrote in many styles, famous for opera
– Later moved to Paris—did not work out
Mid- to late-romantic composer
Studied in Germany
Lived large off of others—ran up debts
– Returned to Germany, ran into trouble
– Finally settled and succeeded in Munich, Bavaria
Chapter 18
Wagner’s Music
His works were large, full-blown affairs
Adapted idee fixe to leitmotif approach
Huge orchestrations for operas
– Requires big voices to be heard
No recitatives and arias—just non-stop music
Chapter 18
Listening
Die Walkure Die Walkure ((The ValkyrieThe Valkyrie, 1856), 1856)Richard WagnerRichard WagnerAct I: Love scene (conclusion)Act I: Love scene (conclusion)
Storyline of the Storyline of the Ring CycleRing Cycle and this scene (p. 279) and this scene (p. 279)
Vocal Music Guide: p. 282Vocal Music Guide: p. 282Brief Set, CD 4:1Brief Set, CD 4:1
Listen for:Listen for: Huge production, large orchestrationsHuge production, large orchestrations
Big, powerful voices requiredBig, powerful voices required
Use of Use of leitmotifleitmotif for people, places, for people, places, things,things, and ideasand ideas
Chapter 18