Chapter Nineteen: Introduction to Romanticism

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Presentation transcript:

Chapter Nineteen: Introduction to Romanticism

Romantic Inspiration & Romantic Creativity Self-expression Human imagination and the wonders of nature Love Nature Supernatural and the macabre musical expression marks

The Musician as “Artist,” Music as “Art” The duty of the artist was “the upbringing of mankind” Composers were no longer servants to the aristocracy Music no longer merely entertainment, but Art “Art for Art’s sake.” Rebellion against Classical ideals Romantic ideals change the listening experience Figure 19.1 The Dreamer, by German Romantic artist Casper David Friedrich (1774–1840). The painting suggests two forces dear to the hearts of the Romantics: the natural world and the world of dreams. Here timeless nature, creator and destroyer of all things human, surrounds a dreamer lost in solitary contemplation. Notice how the tree to the left is squarely centered within the “window” on the left, as if an altar has been erected in honor of nature.

The Style of Romantic Music Romantic Melody: Broad, sweeping themes

Colorful Harmony Romantic Tempo: Rubato

Romantic Forms: Monumental: Miniature: Character piece Usually for the piano Use of simple binary (AB) or ternary (ABA) form

The Romantic Orchestra Technological advances that led to the modern symphony orchestra transformed 19th-century music Industrial revolution improved instruments Orchestra expanded by new instruments Ophicleide, English horn, Cornet, Harps added Greater size, great volume conductor Mozart (1788) Berlioz (1830) Mahler (1889) Symphony in G minor Symphonie fantastique Symphony No. 1 Total players: 36 Total players: 89 Total players: 129 20 minutes 55 minutes 90 minutes

The Virtuoso The nineteenth century was the age of the solo virtuoso Musicians strived to raise their performance skills to unprecedented heights Franz Liszt (1811-1886) Niccolò Paganini (1782-1840) Clip from The Red Violin https://www.youtube.com/watch?v=yc1fguYopx0

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