Romantic Art Songs Flourished Particularly Through Prominent Composers From
Romantic Music
Introduction
Table Summary
| early Romantic (ca. 1820-lx) | belatedly Romantic (ca. 1860-1900) | ||
| full Romantics | Berlioz (program symphonies) Liszt (piano works) Chopin (piano works) | Richard Strauss (tone poems) | |
| bourgeois Romantics | Mendelssohn (orchestral works) Schubert (symphonies, lieder) Schumann (lieder, piano works) | Brahms (symphonies) | |
| regional Romantics | Russia | Tchaikovsky (ballets, 1812 Overture) Mussorgsky (Bald Mountain, Pictures) | |
| Bohemia | Smetana (My Country) Dvorak (New World Symphony) | ||
| Scandinavia | Grieg (Peer Gynt) Sibelius (Finlandia) | ||
General Features
The central aim of Romanticism is unrestrained emotional expression (see Western Aesthetics). Romantic artists flare-up free of the limitations imposed by classicism (balance, harmony, clarity, simplicity), embracing whatever aesthetic techniques proved constructive in capturing a detail feeling. Throughout the Romantic age, composers increasingly embraced abrupt shifts in dynamics and tempo, and experimented with novel melodies and chord progressions.1
The core period of Romantic music was ca. 1820-1900; like all aesthetic movements, all the same, the borders of this period are "soft". The roots of Romantic music lie some 2 decades earlier (in Beethoven's mid-career works), while the careers of some tardily Romantic composers stretched decades into the twentieth century. Romantic music can exist divided into early and late, with a boundary of ca. 1860.
The mainstream earth of Romantic music consisted of Germany, Austria, Italy, and France. Romantic music produced elsewhere is known every bit regional, every bit it tends to characteristic a distinct local flavour (eastward.g. Russian, Bohemian). Regional Romantic music flourished mainly during the late Romantic period.
During the Romantic historic period, the economic ground of Western art music shifted from individual patrons (chiefly nobility and clergy) to public audiences, thanks to the Early on Modern expansion of the middle class. Since patrons could exert a peachy deal of control over a composer'south work (from types of works produced to time immune for composition), the patronage organisation often curbed artistic liberty. Composers writing for public performance, on the other hand, retained professional person autonomy, assuasive experimentation to flourish like never before.
Chief Article
Chromaticism
Chromaticism is the use of notes that lie outside the calibration on which a passage is based. For instance, if a passage is written in the key of C major, the use of any note outside the C major calibration (e.m. F abrupt) constitutes chromaticism. While Baroque and Classical music typically feature some degree of chromaticism, Romantic music took the effect to new extremes, thereby opening a new globe of possibilities for both melodies and chords.
Chromaticism can be used to shift between keys (due east.m. from C major to G major). Once more, while a moderate corporeality of fundamental-shifting is common in Baroque and Classical works, Romantic composers used this technique with increasing frequency. The tendency culminated with Wagner, who wrote the first music in which the key constantly shifts near.12
The Orchestra and the Piano
During the Baroque age, the orchestra was dominated by the cord department; the other 3 sections (woodwind, brass, and percussion) remained small. Throughout the Classical and early Romantic ages, the non-string sections grew steadily larger and more than independent, culminating in the mature symphony orchestra of the tardily Romantic period (which remains the standard modernistic-solar day orchestra). Moreover, a wide range of instrumental combinations and techniques were pioneered during the Romantic historic period, thereby unleashing the full potential of orchestral expression. Late Romantic music is often hands distinguished from early on Romantic work by the scale and diverseness of its orchestration.I384
The development of the orchestra was paralleled by that of the pianoforte. An invention of the late Bizarre period, the piano gradually superseded the harpsichord as the primary keyboard instrument throughout the Classical age. During the Romantic menstruation (the "golden age" of the piano), an unprecedented volume and diversity of music was produced for the pianoforte, and the musical instrument's full expressive potential was achieved.I404
Multi-motility Works
A multi-move work consists of multiple, self-contained works, each of which is referred to as a motion. Multi-movement works are common in Western music from the Baroque historic period onward. Typically, the movements vary in character (notably tempo) in order to provide contrast throughout the piece of work.
In a work of absolute music (east.k. a symphony), each motility is typically named according to its tempo (e.g. allegro, andante). In a work of program music (eastward.thou. a symphonic poem), each movement is typically named according to the imagery associated with the music (eastward.chiliad. Scene in the Land, Tortoises). Sometimes a multi-movement work is chosen a suite (due east.g. piano suite) or cycle (east.g. vocal cycle).
Upwards until the Romantic period, orchestral music was dominated past absolute music, namely the symphony and concerto. During the Romantic menses, orchestral program music came to equal absolute music in popularity. A single-movement work of orchestral programme music is ofttimes called a symphonic poem or tone poem, while a multi-movement piece of work is often chosen a plan symphony.
Romantic Composer Types
Romantic composers can be divided into three groups: full, conservative, and regional. The full Romantics pursued Romantic freedom unconditionally, while the conservative Romantics retained a significant degree of classicism (i.e. construction, clarity, simplicity). These ii groups comprise the "mainstream" trunk of Romantic composers.
Beyond the mainstream prevarication the regional Romantics, who often infused Western art music with the folk music of their native lands. Regional Romanticism was a belatedly development, flourishing mainly in the 2nd half of the Romantic period. The virtually renowned strains of regional Romantic music are Russian, Bohemian, and Scandinavian.
| early on Romantic (ca. 1820-sixty) | tardily Romantic (ca. 1860-1900) | ||
| full Romantics | Berlioz (plan symphonies) Liszt (piano works) Chopin (piano works) | Richard Strauss (tone poems) | |
| conservative Romantics | Mendelssohn (orchestral works) Schubert (orchestral works, lieder) Schumann (lieder, pianoforte works) | Brahms (symphonies) | |
| regional Romantics | Russia | Tchaikovsky (ballets, 1812 Overture) Mussorgsky (Baldheaded Mountain, Pictures) | |
| Bohemia | Smetana (My Country) Dvorak (From the New Earth) | ||
| Scandinavia | Grieg (Peer Gynt) Sibelius (Finlandia) | ||
The adjacent three sections of this article explore each of the groups described above, with the omission of composers known primarily for opera.
Full Romantics
ca. 1820-1900
The four most prominent full Romantics are Berlioz, Liszt, Chopin, and Richard Strauss.
French composer Hector Berlioz is known primarily for his three program symphonies. Foremost of these is Symphonie fantastique (his masterpiece), which relates an artist's doomed struggle with unrequited dearest; the others are Harold in Italy and Romeo and Juliet. Berlioz was the leading early Romantic effigy in the expansion of orchestral instrumentation and technique.I391
Franz Liszt, a Hungarian composer, is remembered chiefly for his many pianoforte works. These include etudes, waltzes, and "Hungarian rhapsodies", the latter of which depict upon the folk music of his native state. (A "rhapsody" is an emotional, through-composed work.) Sonata in B pocket-size is often considered his masterpiece.
Another leading Romantic pianoforte composer was Smooth-French Frederic Chopin, whose Sonata in B flat minor is ofttimes identified as his greatest work. In addition to sonatas, Chopin worked in such genres equally the mazurka (a traditional Polish trip the light fantastic), etude ("study", a work designed for practising specific technical skills), nocturne (a meditative, lyrical work), and waltz. Chopin was fond of tempo rubato ("free tempo"), a common feature of Romantic music, in which the performer freely adjusts the tempo throughout a operation.I409
Richard Strauss, renowned chiefly equally a composer of tone poems, was influenced so strongly by Wagner that he is known every bit a Wagnerian. ("Wagnerian" music features the typical qualities of Wagner's work, including frequent primal-shifting, complex chords, and lush orchestration.) Strauss' nearly famous tone verse form is Thus Spake Zarathustra.
Conservative Romantics
ca. 1820-1900
The foremost conservative Romantics are Mendelssohn, Schubert, Schumann, and Brahms.
Franz Schubert excelled primarily in symphonies and song cycles. His foremost symphonies are the Great and Unfinished.
A lied ("vocal", plural "lieder") is a Romantic poem (typically German language) arranged for vox and piano. A set of lieder is known as a song cycle. Schubert, oft acknowledged equally the greatest lied composer, wrote many vocal cycles, foremost of which are Die Winterreise ("Winter Journey") and Die schöne Müllerin ("The Miller's Cute Daughter").
Felix Mendelssohn is known mainly for orchestral works, peculiarly the Italian Symphony and Overture to a Midsummer Night's Dream (which includes the famous Wedding March).
Robert Schumann is remembered chiefly for song cycles and piano cycles. (A "pianoforte bicycle" is a serial of solo piano works.) His foremost vocal wheel is Dichterliebe ("Poet's Dearest"), while his most famous piano work is Traumerei ("Dreaming"), from the bike Kinderszenen ("Scenes from Childhood").
Johannes Brahms is oftentimes singled out as the greatest conservative Romantic. His most renowned works are the German Requiem (often considered his masterpiece) and his four symphonies.
Regional Romantics
ca. 1820-1900
Exterior the "mainstream core" of Western art music (France/Italy/Federal republic of germany/Republic of austria), many composers broke new musical ground by merging native folk traditions with mainstream Romanticism. The result was regional Romanticism, of which the nearly renowned branches are Russian, Bohemian, and Scandinavian. (Bohemia was the pre-modern kingdom of the Czechs; "Bohemian" and "Czech" are ofttimes used interchangeably.) Other notable branches include Iberian and English.
Regional composers oft disagreed on the appropriate balance of mainstream and native musical elements. This issue was especially prominent in Russia, where composers frequently came to exist viewed equally either "mainstream-focused" or "native-focused".
Foremost of the mainstream-focused Russian composers is Peter Ilyich Tchaikovsky, frequently considered the greatest ballet composer of all time; his three masterpieces are Swan Lake, Sleeping Beauty, and The Nutcracker. Tchaikovsky's near famous non-ballet work is the 1812 Overture, which celebrates the Russian defeat of Napoleon's invasion.
Foremost of the native-focused Russian composers is Minor Mussorgsky.I465,I482 His best-known works are Nighttime on Bald Mountain (a symphonic poem) and Pictures at an Exhibition (a piano cycle).
The foremost Bohemian Romantic composers are Smetana and Dvorak. Bedrich Smetana is known primarily for My State, a set of vi symphonic poems (of which Moldau is the best-known). The outstanding masterpiece of Antonin Dvorak is the New Globe Symphony, composed while working in the U.s..
Scandinavia also features two outstanding Romantic composers. Norway is represented past Edvard Grieg, whose most famous work is the orchestral suite Peer Gynt. Finland'south greatest composer, Jean Sibelius, is known primarily for the patriotic symphonic poem Finlandia.
Romantic Opera
Introduction
Both serious and comic opera were transformed past Romanticism. The bonds of classical structure and simplicity were loosened (or cast bated altogether), as composers strove to convey the full range of human emotion with precision and ability.
| Baroque | Classical | Romantic | |
| Italian | Handel | Mozart | (Donizetti, Rossini) > Verdi > Puccini |
| German | Wagner > R Strauss | ||
| French | Bizet | ||
From the Baroque to the early Romantic historic period, opera was typically neatly divided into narrative (plainly spoken language or recitative, which advanced the story) and songs (which paused the story to highlight cardinal elements). In the mid/late Romantic age, opera tended to embrace continuous narrative, in which the story unfolds constantly (throughout both speech communication/recitative and songs). Indeed, the distinction between recitative and songs was oft blurred, as recitative became more lyrical and songs came to lack sharply-divers ancestry and endings.
The history of opera lies primarily in the core region of Western art music (French republic/Italy/Germany/Austria). By far the most pop opera composer from outside the core is Tchaikovsky, whose two most-performed operas are Eugene Onegin and Pikovaya Dama ("The Queen of Spades").
Italian Romantic Opera
Italian opera experienced a dramatic shift in tone throughout the Romantic menstruum. The early Romantic was dominated past lively comic opera, the mid/late Romantic by starkly serious opera.
| early Romantic opera (the v most-performed composers) | mid/late Romantic opera (the eight most-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| German | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
The three leading figures of early Romantic Italian opera were Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.three The most popular piece of work of each composer is the tragedy Norma (Bellini), the comedy L'elisir d'amore (Donizetti), and the comedy The Barber of Seville (Rossini).
Mid/tardily Romantic Italian opera was initially dominated by Giuseppe Verdi, widely considered the greatest Italian opera composer (and today'south most-performed opera composer). Verdi elevated the drama of Italian opera to a level equal to theatre (simply as Wagner did for German opera). Upwards until the mid/tardily Romantic period, operas had tended to focus primarily on music, and consequently featured relatively simple, undeveloped stories.I449
Verdi, who worked almost entirely in serious opera, was influential for portraying heroism in characters of marginalized groups (e.m. slaves, prostitutes) and for his blunt social realism.3,14 His near popular works are La traviata and Rigoletto, followed by Aida, Nabucco, and Il trovatore.15
Verdi'southward successors, who embraced and adult upon his overall style (including social realism), are known as the verismo schoolhouse ("realism schoolhouse").three Their leader was Giacomo Puccini, today's tertiary-most performed opera composer (afterwards Verdi and Mozart), and the concluding not bad figure of Romantic opera. Puccini'southward iii most popular works are La Bohème, Tosca, and Madama Butterfly.
Some opera composers are known about exclusively for a single work. This is certainly true of the two leading figures of the verismo schoolhouse later Puccini: Ruggero Leoncavallo (Pagliacci) and Pietro Mascagni (Cavalleria rusticana).
French Romantic Opera
French Romantic opera was (like Baroque and Classical French opera) rooted in Italian opera, just developed in uniquely French ways. French opera is renowned for its grandeur, achieved through such elements as large choruses, elaborate trip the light fantastic toe sequences, and opulent staging and costumes.
| early Romantic opera (the v most-performed composers) | mid/late Romantic opera (the 8 nearly-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| German | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
The foremost early Romantic composer of French opera was Hector Berlioz, whose most-performed works are La damnation de Faust ("The Damnation of Faust") and Les troyens ("The Trojans").
The mid/late Romantic menstruation contains the iv most popular French opera composers.
Leading the pack is Georges Bizet, whose Carmen is past far today's virtually-performed French opera; his other masterpiece is Les pêcheurs de perles ("The Pearl Fishers"). The nearly pop works of Jacques Offenbach are Les contes d'Hoffmann ("The Tales of Hoffman") and Orphée aux enfers ("Orpheus in the Underworld"); of Charles Gounod, Faust and Roméo et Juliette; and of Jules Massenet, Werther.
Operetta
Offenbach was the first groovy composer of operetta, which can be defined simply every bit "low-cal opera". The story and music of an operetta are typically shorter, simpler, and more consistently light-hearted (often to ridiculous extremes) than those of an opera; operettas thus embody the transition from opera to musical theatre. Offenbach'south nearly popular operetta is Orphée aux enfers ("Orpheus in the Underworld").
The leading centres of operetta were Paris and Vienna. While French operetta culminated with Offenbach, the foremost Austrian composer of the form was Johann Strauss 2, whose Die Fledermaus ("The Bat") is the world'southward most-performed operetta. Strauss is also renowned for composing orchestral music in diverse trip the light fantastic forms, including marches, polkas, and (especially) waltzes, of which the nigh famous example is the Blue Danube .
Exterior France and Austria, the almost renowned composers of operetta are British duo Gilbert and Sullivan, whose foremost works may be H.G.Southward. Pinafore, The Pirates of Penzance, and The Mikado.
High german Romantic Opera
In the Romantic period, serious German opera finally attained prominence equal to its Italian and French counterparts. Romantic German opera typically features supernatural characters and plots fatigued from Germanic mythology; in some cases, ordinary humans are drawn into supernatural matters. The first great composer of Romantic German opera was Carl Maria von Weber, whose masterpiece is Der Freischutz ("The Marksman").I438,4
| early on Romantic opera (the five about-performed composers) | mid/tardily Romantic opera (the viii about-performed composers) | |
| Italian | Rossini, Donizetti, Bellini | Verdi, Puccini |
| German | Weber | Wagner, R Strauss, J Strauss |
| French | Berlioz | Bizet, Offenbach |
| regional | Tchaikovsky |
Weber was succeeded by the foremost German opera composer, Richard Wagner, who eventually abased the stardom between recitative and songs in favour of continuous melody. Wagner was also the first composer to brand extensive use of the leitmotif, a musical theme associated with a particular character or thought. Wagner's iv most-performed works are Der fliegende Holländer ("The Flying Dutchman"), Die Walküre ("The Valkyrie"), Das Rheingold ("The Rhine Aureate"), and Tristan und Isolde ("Tristan and Isolde").I443-44,2
Wagner had 2 major successors. One was Richard Strauss, whose near popular operas are Salome and Der Rosenkavalier ("The Knight of the Rose"). The other was Engelbert Humperdinck, whose fame rests almost entirely on one opera: Hänsel und Gretel .
1 - "Western music", Encarta 2004.
2 - "Opera", Columbia Encyclopedia. Accessed September 2010.
3 - "Opera", Encarta 2004.
4 - "Western music", Encyclopedia Britannica. Accessed September 2010.
5 - "Romanticism", Columbia Encyclopedia. Accessed September 2010.
6 - "Franz Schubert", Encyclopedia Britannica. Accessed September 2010.
seven - "The Five", Encyclopedia Britannica. Accessed September 2010.
8 - "Hector Berlioz", Encarta 2004.
nine - "Frederic Chopin", Encyclopedia Britannica. Accessed September 2010.
10 - "Anton Bruckner", Columbia Encyclopedia. Accessed September 2010.
eleven - "Peter Tchaikovsky", Encyclopedia Britannica. Accessed September 2010.
12 - "Chromaticism", Encyclopedia Britannica. Accessed September 2010.
xiii - "Bel canto", Encyclopedia Britannica. Accessed September 2010.
14 - "Giuseppe Verdi", Encyclopedia Britannica. Accessed September 2010.
15 - Operabase Statistics - Verdi
Source: http://www.essential-humanities.net/western-art/music/romantic/
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