Chapter 17 The Early Romantics

Key Terms Lied (plural: lieder) Through-composed Strophic Song cycle Character pieces Études Nocturnes Program music Program symphony Idée fixe Dies irae

The Early Romantics Perhaps the most brilliant generation in music history Profoundly influenced by Beethoven Deeply influenced by literary Romanticism

The Lied German lied = song Piano accompaniment Romantic poetry Intimate mood Not intended for concert hall Performers seem to share emotional insights with the listener

Strophic Songs Use the same music for all stanzas Often used when stanzas are all similar in construction Difficult to create variety

Through-Composed Songs Use different music for each stanza Often used for poems with frequent changes of mood or voice Difficult to create unity

Franz Schubert (1797–1828) Earliest (and greatest?) master of the Lied Born and trained in Vienna Supported by teaching, publications, and friends Prolific—wrote nearly 700 songs in addition to symphonies, sonatas, etc. Died in a typhoid epidemic

Schubert, “Erlkönig” Story song on a ballad poem by Goethe Eight-stanza poem with many voices Through-composed setting Themes of death and the supernatural

The Story of the Erlking A furious horseback ride through the night Father tries to save his deathly ill son The Erlking comes for the child Beckons, then cajoles, then threatens Father does not see the demon When they reach home, the boy is dead in his arms

The Music of the Erlking Fast triplets suggest hoofbeats Father’s music is low, gruff, stable Son’s music is high, frantic, unstable Demon’s music is ominously sweet Tension lets up as they reach home Stark recitative announces boy’s death

The Song Cycle A group of songs with a common theme Sometimes based on ready-made group Schubert’s settings of Wilhelm Müller’s Die schöne Müllerin and Winterreise Or composer can assemble a set Schubert’s Schwanengesang Unified cycle more impressive than single miniatures

Robert Schumann (1810–1856) Studied for career as piano virtuoso Married his teacher’s daughter after court battle Wrote piano music, songs, works for orchestra, and chamber music Founded The New Music Journal Attempted suicide; died in an asylum

R. Schumann, Dichterliebe His most famous song cycle Based on poems by Heinrich Heine No story, just a common theme Traces psychological progression from optimism to despair

“Im wunderschönen Monat Mai” In the wonderfully lovely month of May, When all the buds were bursting, Then it was that in my heart Love broke through. When all the birds were singing, Then it was that I confessed to her My longing and desire

“Im wunderschönen Monat Mai” The first song in Dichterliebe Is it strophic or through-composed? What is the effect of the piano interludes? Why did Schumann write it this way?

“Die alten, bösen Lieder” The last song in Dichterliebe Is it strophic or through-composed? How does the mood change in stanza 6? What is Schumann expressing in the long piano coda? What kind of ending does this make for the song cycle?

Clara Wieck Schumann (1819–1896) Eldest child of Friedrich Wieck, famous piano teacher Married her father’s student Robert Schumann Composed songs, piano and chamber works Toured widely after Robert’s death

C. Schumann, “Der Mond kommt still gegangen” Is it strophic or through-composed? What is the relationship between piano and voice? How does Schumann create a sense of climax in the final stanza? What does the piano coda add to the song?

C. Schumann, “Der Mond kommt still gegangen”

The Character Piece Short piano pieces (miniatures) Meant to portray a distinct mood or character Like a Lied but without a poem Songs Without Words Composed at all levels of difficulty Appeared under many genre and descriptive titles

Form of the Character Piece Simple, sectional forms Repetition, contrast, return, variation Thematic unity Recurring motives Similarity of mood

Schubert, Moment Musical No. 2 in A-flat Open title—any mood possible Form uses contrast and return A B A´ (coda) B´ A´´ coda Lyric A theme: a gentle, rocking figure Emotive B theme: steady moving accompaniment A´ with coda feels like the end Fortissimo B´ in minor key a surprise

R. Schumann, Carnaval Style has warmth and privacy (innigkeit) Often assembled piano pieces in sets Carnaval = 20 short character pieces Musical portraits at a Mardi Gras ball Schumann, girlfriends Estrella and Chiarina, composers Paganini and Chopin, etc.

R. Schumann, “Eusebius” Pen name for his tender, dreamy self Rhythmically very free (quintuplets, triplets, rubato) Form based on repetition, contrast, and return (aa ba b´a´ ba)

R. Schumann, “Florestan” Pen name for his more impetuous self Opening outburst follows Eusebius’s tentative ending Moves in fits and starts Abrupt tempo changes; abrupt ending Form based on repetition, variation a a´ a´´ a´´´

Frédéric Chopin (1810–1849) Born near Warsaw; settled in Paris Pianist of miraculous ability and delicacy Earned rave review from Schumann at age 20 Rarely performed in public Composed almost exclusively for piano Moved in high society and artistic circles Frail health—died of tuberculosis

Chopin, Nocturne in F-sharp Nocturnes (“night pieces”)—various moods Singing quality, melodic decorations Relaxed rubato, subtle chromaticism Form uses repetition, contrast, return (a a´ b c a´´ coda)

Program Music Instrumental music associated with poems, stories, etc. Intimately tied with nonmusical ideas Different genres Concert overture Program symphony Symphonic poem

Franz Liszt (1811–1886) Hungarian composer Learned music at Esterházy estate Played for Beethoven at age 11 Virtuoso pianist based in Paris Dazzled audiences with technique Dashing looks, personality, and affairs Wrote fiercely difficult piano music Second career as conductor in Weimar Wrote symphonic poems; championed Wagner

Felix Mendelssohn (1809–1847) From upper-class family of bankers Successful composer, pianist, organist, conductor, and educator Founded Leipzig Conservatory Revived Bach’s St. Matthew Passion Firm foundation in Classical technique Wrote concert overtures, oratorios, piano works, symphonies, etc.

Fanny Mendelssohn (1805–1847) Felix’s equally talented sister A highly prolific composer Oratorios, piano works, chamber music, etc. Weekly performances at Mendelssohn home Married painter Wilhelm Hensel Women composers were not taken seriously Little of her music was published Rarely performed outside the home

The Concert Overture A single-movement orchestral work for concert performance Resembles opera overture without an opera An important step from opera overture to symphonic poem Mendelssohn’s A Midsummer Night’s Dream and the Hebrides Overture

Hector Berlioz (1803–1869) Son of a country doctor in France Left medical school for Paris Conservatory Made living writing about music Wrote unprecedented, ambitious program symphonies Extraordinary, imaginative orchestration Inspired by literature (Shakespeare, Virgil) Toured as conductor of his own music

The Program Symphony The Romantic era’s most “grandiose” orchestral genre More radical approach than the concert overture An entire symphony with a program Each movement tells part of the story “Story” often published in the program

Berlioz, Fantastic Symphony Program symphony in five movements Lurid autobiographical fantasy Inspired by his unrequited love for Shakespearean actress Harriet Smithson Unprecedented originality Imaginative colors drawn from huge orchestra Use of idée fixe in every movement

Idée Fixe “Fixed idea,” a term popular in medical literature of the day Theme represents the composer’s beloved (Smithson) Recurs in all five movements Symbolizes each appearance of the beloved

Movement Format of Fantastic Symphony Related to Classical symphony format Middle two movements reversed Movements IV and V unprecedented I: Fast tempo, sonata form, slow intro II: Moderate tempo, triple meter; waltz III: The slow movement IV: Moderate tempo; a march V: Fast tempo, free form follows story

Fantastic Symphony The Program of the Symphony A young musician of unhealthy sensibility and passionate imagination poisons himself with opium in a fit of lovesick despair. Too weak to kill him, the dose of the drug plunges him into a heavy sleep attended by the strangest visions, during which his sensations, emotions, and memories are transformed in his diseased mind into musical thoughts and images. Even the woman he loves becomes a melody to him, an idée fixe as it were, that he finds and hears everywhere.

The Program: I Movement 1: Reveries, Passions First he recalls the soul-sickness, the aimless passions, the baseless depressions and elations that he felt before first seeing his loved one; then the volcanic love that she instantly inspired in him; his jealous furies; his return to tenderness; his religious consolations.

The Program: II Movement 2: A Ball He encounters his beloved at a ball, in the midst of a noisy, brilliant party.

The Program: III Movement 3: Scene in the Country On a summer evening in the country, he hears two shepherds piping in dialogue. The pastoral duet, the location, the light rustling of trees stirred gently by the wind, some newly conceived grounds for hope—all this gives him a feeling of unaccustomed calm. But she appears again. . . . What if she is deceiving him?

The Program: IV Movement 4: March to the Scaffold He dreams he has killed his beloved, that he is condemned to death and led to execution. A march accompanies the procession, now gloomy and wild, now brilliant and grand. Finally the idée fixe appears for a moment, to be cut off by the fall of the ax.

The Program: V Movement 5: Dream of a Witches’ Sabbath He finds himself at a Witches’ Sabbath: unearthly sounds, groans, shrieks of laughter, distant cries echoed by other cries. The beloved’s melody is heard, but it has lost its character of nobility and timidity. It is she who comes to the Sabbath! At her arrival, a roar of joy. She joins in the devilish orgies. A funeral knell; burlesque of the Dies irae.

Berlioz, Fantastic Symphony, V The most audacious movement yet Orchestral sound effects reign Idée fixe now treated as vulgar parody On piccolo clarinet with carnival ornaments His beloved is the witches’ guest of honor

Berlioz, Fantastic Symphony, V Composer’s funeral at same time Solemn Dies irae chant ridiculed by witches

Berlioz, Fantastic Symphony, V Raucous Witches’ Round Dance is a fugue Round Dance and Dies irae combine at climax Witches parodying the church melody

Romantic Features of Fantastic Symphony “Grandiose” in scope and scale Program symphony for large orchestra Blurs the lines between music, literature, theater, and autobiography Cyclic work, unified by idée fixe Fascination with supernatural, macabre New orchestral colors, expressive effects, unusual forms Only 39 years after Haydn’s Symphony No. 95!