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Literary Musicians
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Berlioz’s Literary Trinity
• Hector Berlioz (1803–1869)– literary influences and program music• Virgil
– Les Troyens (1856–58)
• Shakespeare– Le roi Lear (1831)– Roméo et Juliette (1839)– Béatrice et Bénédict (1862)
• Goethe– La damnation de Faust (1846)
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Berlioz’s Fantastic First Symphony
• Symphonie fantastique (1830)[Anthology
2-39]– Episode in the Life of an Artist: Fantastic
Symphony in Five Movements– idée fixe– Harriet Smithson
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Berlioz’s Fantastic First Symphony
• Symphonie fantastique (1830)[Anthology
2-39]– 1. Reveries—Passions– 2. A ball– 3. Scene in the country– 4. March to the scaffold– 5. Dream of a Witches’ Sabbath• Dies Irae
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Berlioz’s Fantastic First Symphony
• Symphonie fantastique (1830)[Anthology
2-39]– Orchestration• expanded wind and brass sections• four harps• five percussionists• special effects with mutes, slides, and bowing
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Following the Idée Fixe
• “reminiscence motive”• appears in all five movements
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Discriminating Romanticisms
• Schumann’s review of the Symphonie fantastique– Neue Zeitschrift für Musik (1835)
• Program vs. absolute music
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The Prodigious Mendelssohn
• Felix Mendelssohn (1809–1847)
• “The Mozart of the nineteenth century”
– Octet in E♭Major for Strings, Op. 20 (1825)
– Overtue to A Midsummer Night’s Dream (1826)• Concert Overture
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The Prodigious Mendelssohn
• Felix Mendelssohn (1809–1847)– Overture to A Midsummer Night’s Dream (1826
[Anthology 2-40]• later added incidental music
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The Prodigious Mendelssohn
• Felix Mendelssohn (1809–1847)– Calm Sea and Prosperous Overture (1828)– Hebrides (Fingal’s Cave) (1829)– Fair Melusine Overture– Symphony No. 3 in A Minor “Scottish” – Symphony No. 4 in A Major “Italian”– Lider ohne Worte (Songs without Words)
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The Prodigious Mendelssohn
• Felix Mendelssohn (1809–1847)– 1833: Appointed Music Director of Düsseldorf– 1835: Appointed chief conductor of the Leipzig
Gewandhaus orchestra concerts– 1843: director of the Leipzig conservatory– 1843: director of the Berlin Cathedral Choir and
conductor of Symphonic subscriptions concerts
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Mendelssohn’s Paulus and Civic Nationalism
• Paulus (1832–1836) [Anthology 2-41]– oratorio– allegory of the German nation– Lutheran chorales• “Wachet auf, ruft uns die Stimme”
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Nationalism Takes a Racial Turn
• “Das Judenthum in der Musik” (Judaism in Music) (1850)– K. Freigedank (Richard Wagner)
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Schumann and Literature
• Robert Schumann (1811–1856)– Early piano studies with Friedrich Wieck– Marriage to Clara Wieck (1840)– music critic for Neue Zeitschrift für Musik• Davisbund (League of David)– Florestan– Eusebius–Master Raro
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Music of Letters
• Carnival, Op. 9 (1833–34)– (A, A♭,B, C, E♭)– (SCH)umann, Asch
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The Piano Fantasie, Op. 17
• [Anthology 2-42]• 3-movement work– (Ruins, Trophies, Palms)– Schlegel’s “Die Gebüsche”• Through all the sounds
In the motley dream of earthly lifeThere sounds a soft, long drawn-out soundFor the one who overhears in secret
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Schumann’s “Year of Song”
• First 23 published opuses were piano pieces• 1840 devoted almost entirely to song• 1841 “symphony year”• 1842 primarily chamber music• 1843 oratorio• 1848 dramatic music
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Schumann’s “Year of Song”
• 1840• Nearly 150 songs• Heinrich Heine, Buch der Lieder• Dichterliebe (Poet’s Love) [Anthology 2-43]– Im wonderschonen Monat Mai– Die alten, bösen Lieder
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Schumann’s Last Years
• Large-scale dramatic compositions – Das Paradies und die Peri (1843)– Scenen aus Goethes Faust (1844–53)– Genoveva (1848)– Manfred
• Attempted suicide in 1854, spent his final 2 years in an asylum
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Genius Restrained
• Fanny Mendelssohn (1805–1847)– 500 compositions• 250 songs• 125 piano works• string quartet, piano trio, orchestral
overture
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Genius Restrained
• Clara Wieck Schumann (1819–1896)– virtuoso pianist– variations sets, piano concerto, songs– Er ist gekommen in Sturm und Regen
[Anthology 2-44]