1. Chapter Nineteen: Introduction to Romanticism

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

3. 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.

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

5. Colorful Harmony
Romantic Tempo: Rubato

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

7. 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

8. The Virtuoso The nineteenth century was the age of the solo virtuoso
Musicians strived to raise their performance skills to unprecedented heights
Franz Liszt ( )
Niccolò Paganini ( )
Clip from The Red Violin