1. 2011 © McGraw-Hill Higher Education Music: An Appreciation 10 th Edition by Roger Kamien Part VI The Romantic Period 1820-1900

2. The Romantic Period Time 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

3. Romanticism (1820-1900) Stressed 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 & romance Nature: as mirror of the human heart Architecture revived Gothic elements

4. Ch. 1- Romanticism in Music Many important Romantic composers 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 Franz SchubertBedřich Smetana Antonin Dvořák Peter Tchaikovsky Johannes Brahms Giuseppe Verdi Giacomo Puccini Richard Wagner Robert Schumann Clara Schumann Frédéric Chopin Franz Liszt Felix Mendelssohn Hector Berlioz

5. Individuality of Style Characteristics of Romantic Music Composers want uniquely identifiable music Expressive Aims and Subjects Dark topics draw composers All approaches were explored: Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … Romantic love still focus of songs & operas Lovers frequently depicted as unhappy and facing overwhelming obstacles Nationalism and Exoticism Nationalism: music with a national identity Exoticism: intentionally imply foreign culture Frequently in operas with foreign settings

6. Program Music Association with a story/poem/idea/scene Expressive Tone Color Composers tried to create unique sounds Understanding the music enhanced through reading program or viewing associated work Blending of existing instruments Addition of new instruments Tone color important to emotional content Colorful Harmony Chords built w/ notes not in traditional keys Harmonic instability consciously used device

7. Expanded Range of Dynamics, Pitch & Tempo Dynamics ff, pp expanded to ffff & pppp Forms: Miniature and Monumental Some composers went on for hours Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo 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

8. Ch. 2 - Romantic Composers and Their Public Demise of the patronage system Composers regarded themselves as “free spirits” Decline in aristocratic fortune—Napoleonic wars New urban classes/new musical topics Public was entranced by virtuosity Piano became a fixture in most homes Composers/audience: same social class Few composers financially successful

9. Ch. 3 - The Art Song Composition for solo voice and piano Accompaniment integral part of the song Composers interpreted poems, translating mood, atmosphere and imagery into music Mood summed up at end with piano postlude Linked to vast amount of poetry in this period Strophic and Through-Composed Form Strophic form repeats music for each verse Through-composed—new music 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

10. Ch. 4 - Franz Schubert Born in Vienna (1797-1828) Early Romantic composer Prodigious output When 18 years old wrote 143 songs At 19 years wrote 179 works Included 2 symphonies, opera & mass Schubert’s Music Wrote over 600 songs Also symphonies, string quartets, other chamber music, sonatas, masses, operas, & piano works The Unfinished Symphony: only 2 movements, not 4

11. Listening Erlkönig (The Erlking), 1815 by Franz Schubert Vocal Music Guide: p. 266 Basic Set, CD 5:01 Brief Set, CD 3:42 Based upon narrative ballad with supernatural topic by Goethe Note: Through-composed form Piano portrays galloping horse One singer sounds like several characters (use of different registers) Dramatic ending

12. Listening Die Forelle (The Trout; 1817) by Schubert Basic Set: CD 5:07 Vocal Music Guide: p. 268 Modified Strophic form Folk like quality

13. Listening Schubert, Piano Quintet in A Major (Trout) Basic Set: CD 5:09 Listening Outline: p. 270 Fourth Movement Theme & Variations (The Trout) Piano Quintet

14. Ch. 5 - Robert Schumann German, early to mid-Romantic (1810-1856) Problem with hand ended his ambition Treatments & gadget made problem worse 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 Robert Schumann’s Music Wrote piano pieces, art songs, and later symphonies Piano pieces and art songs frequently in cycles

15. Listening From Carnaval (1834), a cycle of program music by Robert Schumann Estrella, for his first fiancée – p. 274 Ternary form, note syncopation in B section Basic Set, CD 5:19 Brief Set, CD 3:48 Reconnaissance (Reunion) Ternary form, note B section shift from homophonic to polyphonic texture Basic Set, CD 5:21 Brief Set, CD 3:50

16. Ch. 6 - Clara Wieck Schumann German (1819-1896) Leading concert pianist Pair was friends w/ Johannes Brahms Married Robert Schumann One of 1 st well-known women composers Stopped composing after his death Focused on performing his works Clara Schumann’s Music Stopped composing at age 36 Considered herself primarily a performer Wrote songs, piano pieces, a concerto…

17. Listening Romance in E Flat Minor for Piano, (1839) by Clara Wieck Schumann Listening Outline: p. 276 Basic Set, CD 5:23 Brief Set, CD 3:52 Romance – short, lyrical piece for piano A B A’ coda form Minor key Tempo – andante

18. Ch. 7 - Frédéric Chopin Polish born musician (1810-1849) Poet of the piano Moved to Paris at age 21 – European artistic capital Known for his beautiful tone, rhythmic flexibility and extensive use of piano pedals Piano teacher to the daughters of the rich Avoided concert halls Wrote nocturnes, mazurkas, preludes & waltzes Chopin’s Music Developed personal style at early age Evokes a variety of moods Captured the spirit of the Polish people

19. Listening Nocturne in E Flat Major, Op. 9, no. 2 by Chopin (1830-31) Listening Outline: p. 279 Basic Set, CD 5:27 Brief Set, CD 3:56 Nocturne (night piece)-slow, lyrical, intimate piece for piano Note: Expressive, emotional presentation with subtle shifts in tempo and dynamics

20. Listening Etude in C Minor, Op. 10, No. 12 Revolutionary (1831?) by Chopin Listening Outline: p. 280 Basic Set, CD 5:30 Brief Set, CD 3:59 Etude—study piece focusing on a specific technique in performance Note: Speed & endurance required of left hand Not just a study, but interesting music

21. Listening Polonaise in A Flat Major, Op. 53 by Chopin (1842) Polonaise—originated as stately processional dance for Polish nobility Basic Set, CD 5:31 p. 281 Note: Triple meter Ternary—A B A’ with coda

22. Ch. 8 - Franz Liszt Hungarian born composer (1811-1886) Touring concert pianist until age 36 Liszt’s Music Extremely controversial Bombastic & vulgar, or the ideal music? Created symphonic poem (tone poem) Virtuoso pianist Incredible performer and showman—”rock star” Retired from touring & became court conductor and later took minor holy orders – Abbé Liszt Broke away from strict Classical forms Found new ways to exploit the piano

23. Listening Transcendental Etude no. 10 in F Minor (1851) by Liszt Listening Outline: p. 284 Basic set, CD 5:35 Note:Shifting tempo Extreme emotionalism High degree of difficulty for performer (virtuoso piece) Ternary form with a coda

24. Ch. 9 - Felix Mendelssohn German composer (1809-1847) Early to mid-Romantic period Wrote symphonies, concertos, sonatas, and other works before being teenager Developed early Responsible for revival of Bach’s music Died of a stroke while touring Mendelssohn’s Music Somewhat more conservative Avoids emotional extremes Projects both elegance and balance

25. Listening Concerto for Violin and Orchestra in E Minor, Op. 64 (1844) by Mendelssohn First Movement Listening Outline: p. 288 Basic Set, CD 5:41 Brief Set, CD 4:01 Note: Controlled emotionalism Simple, singing melodies Cadenza near the end for soloist

26. Ch. 10 - Program Music Instrumental 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 In Romantic,usually for piano or orchestra Program symphony—multi-movement/orchestral Common types: Concert overture—modeled on opera overture Symphonic poem (or tone poem)—1 movement, orchestral, flexible form Incidental music—for use before or during a play

27. Ch. 11 - Hector Berlioz French composer (1803-1869) Mid-Romantic Period Passionate & unpredictable Won Prix de Rome for Symphonie fantastique One of the first of the great conductors Wrote unconventional music Worked as music critic for support Berlioz’s Music Imaginative, innovative orchestrations Pioneered concept of idée fixe Required huge resources

28. Listening Symphonie fantastique (Fantastic Symphony, 1830) by Berlioz Fourth Movement: March to the Scaffold Listening Outline: p. 297Basic Set, CD 5:47 Brief Set, 4:07 Fifth Movement: Dream of a Witches’ Sabbath Listening Outline: p. 300Basic Set, CD 5:51 Note:Program material and how composer related it to the music Returning melody for idée fixe

29. Ch. 12 - Nationalism in Nineteenth-Century Music National identity grew during the Romantic Citizens, not mercenaries now fought wars Bonds of language, history & culture formed Led to unifications creating Germany and Italy 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

30. Listening Pictures at an Exhibition (1874), by Modest Mussorgsky arranged for orchestra by Maurice Ravel (1922) Basic Set: CD 5:57 Listening Outline: p. 305 The Great Gate of Kiev Majestic main theme Spectacular bell sounds (characteristic of czarist Russia)

31. Ch. 13 - Peter Ilyich Tchaikovsky Russian, Late Romantic (1840-1893) Married, divorced two weeks later Supported by benefactress (patron) Did not start until age 21 By age 30 had a symphony, opera, tone poem and his1 st great orchestra work Studied music in Russia They corresponded but never met Traveled Europe and United States Tchaikovsky’s Music Wrote symphonies, concerti, overtures, operas, and more Fused Russian folk music & European style

32. Listening Romeo and Juliet Overture-Fantasy by Tchaikovsky Listening Outline: p. 308 Basic Set, CD 6:01 Note: Depicts events and characters, but is not a re-telling of the story Different melodies for characters/groups of characters and events Love theme has become very well known

33. Ch. 14 - Bedřich Smetana The Moldau (1874) Part of the cycle Ma Vlast (My Country) by Bedrich Smetana Symphonic Poem depicting the main river that flows thorough the Bohemian (Czech) countryside Listening Guide: p. 311Basic Set, CD 6:11 Brief Set, CD 4:11 Note: Program material and how composer related it to the music

34. Ch. 15 - Antonin Dvořák Followed Smetana composing Czech national music (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 1 st year Got his break when Brahms heard him

35. Listening Symphony No. 9 in E Minor (From the New World, 1893) by Dvořák First Movement: Adagio; Allegro molto Listening Outline: p. 314 Basic Set, CD 6:18 Brief Set, CD 4:18 Note: Based upon American folk melodies Use of non-major/minor scales Sonata form ( 3 themes instead of 2 )

36. Ch. 16 - Johannes Brahms 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/played gigs by night Brahms’s Music Considered somewhat conservative due to his use of classical forms Wrote in all traditional forms except opera Studied earlier composers’ works in detail Especially Bach, Haydn, Mozart & Beethoven

37. Listening Symphony No. 3 in F Major by Brahms Basic Set: CD 6:25; Brief Set: 4:25 Listening Outline: p. 321 Third Movement: Poco allegretto Triple meter Ternary form Melody was used by Carlos Santana & Dave Matthews - Love of My Life

38. Listening Ein Deutsches Requiem (A German Requiem, 1868) by Brahms 4 th Mvt.: How Lovely is Thy Dwelling Place Chorus and orchestra Vocal Music Guide: p. 324 Basic Set, CD 6:28 Note: Movements—not a Catholic mass Based on passages from Martin Luther’s translation of the Bible

39. Ch. 17 - Giuseppe Verdi Italian (1813-1901) Studied in Busseto & Milan Supported by patron Married patron’s daughter Mid- and late Romantic composer Wrote operas with political overtones Nationalist, supported unification of Italy Wrote for middle-class audience who enjoyed opera Critics blasted his scandalous subjects Seemed to condone rape, suicide, and “free love” Verdi’s Music Favorite topic: love story w/ unhappy ending Powerful music summons up heroes & villains Known for opera

40. Listening La donna è mobile and Quartet (Woman is fickle) Aria from Rigoletto (1851) by Verdi Vocal Music Guide: p. 329 Basic Set, CD 6:29 Note:Middle class topic, as in Classical period Text Familiar melody

41. Ch. 18 - Giacomo Puccini Italian (1858-1924) Known primarily for operas Late-Romantic composer Became wealthy and world famous due to the popularity of his music Made use of Exoticism, setting his operas in foreign places Short melodies, simple phrases, and realistic dialog Artistic style verismo (reality): “true to life” Opera La Bohème 1 st major success

42. Listening La Boheme (1896) by Puccini Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria: Che gelida manina (How cold your little hand is!) Storyline of meeting of Rodolfo and Mimi Vocal Music Guide: p. 334Basic Set, CD 7:01 Brief Set, CD 4:28 Note: Dialog is more realistic Tempo shifts to accentuate music & text

43. Ch. 19 - Richard Wagner 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 His works were large, full blown affairs Lived large off of others—ran up debts Adapted idèe fixe to leitmotif approach Wagner’s Music Huge orchestrations for operas Requires big voices to be heard No recitatives & arias—just non-stop music Returned to Germany, got in trouble Finally settled & succeeded in Munich, Bavaria

44. Listening Die Walküre (The Valkyrie, 1856) by Wagner Act I: Love Scene, Conclusion Storyline of the Ring Cycle & this scene Listening Guide: p. 346Basic Set, CD 7:05 Brief Set, CD 4:30 Note: Huge production, large orchestrations Big, powerful voices required Several leitmotifs (sword leitmotif; love and spring )

45. Ch. 20 - Gustav Mahler Austrian romantic composer (1860 – 1911) Grew up in small town, hearing Bohemian peasant songs & dances Critics complained of his harsh dissonances & elaborate orchestrations Became principal conductor of Metropolitan Opera in New York _________________________________________ Mahler’s Music Wrote symphonies & song cycles Used unconventional instruments: cowbells, celesta, guitar

46. Listening Ging heut’ Morgen uber’s Feld (This Morning I Went through the Fields) by Mahler Vocal Music Guide: p. 352 Basic Set, CD 7:13 Modified Strophic Form Mood Shifts