Music of the Music of the Romantic Romantic

EraEra

Roots of Roots of RomanticismRomanticism

Revolt against the formalism of the Revolt against the formalism of the Baroque and Classical periodsBaroque and Classical periods

Goal was to emancipate human feelingsGoal was to emancipate human feelings

The heart was in charge, hence the term, The heart was in charge, hence the term, RomanticismRomanticism

Classical and Baroque music mainly Classical and Baroque music mainly created for a purpose (a dance, etc.) created for a purpose (a dance, etc.) Romanticism moved the focus to music for Romanticism moved the focus to music for intensifying emotionintensifying emotion

Aspects of Romanticism Aspects of Romanticism in music & artin music & art

• Nature (idyllic or awesome, sublime) “organic unity” (music)

• Supernatural, demonic

• exoticism

• “ancient” (Medieval (not Greek))- rejection of Classicism &

Renaissance

• folklore and Das Volk (Nationalism)

Aspects of Romanticism Aspects of Romanticism in music & artin music & art

• THE ARTIST APART FROM SOCIETY

• THE ARTIST AS SOCIAL CRITIC/REVOLUTIONARY

Beethoven’s 9th Symphony

• THE ARTIST AS GENIUS/CULTURAL HERO

BEETHOVEN: “Why bow to social status?”

Interesting Fact…Interesting Fact…

Beethoven’s main theme from his 9Beethoven’s main theme from his 9thth Symphony (dun-dun-dun-duh) is morse Symphony (dun-dun-dun-duh) is morse code for “V.” code for “V.”

This was done unintentionally, but was This was done unintentionally, but was later used by the Allies in WWII, using the later used by the Allies in WWII, using the morse code “V” to signify Victory.morse code “V” to signify Victory.

The misunderstood The misunderstood geniusgenius

“To be a genius is to be misunderstood” – Emerson

The artist out in front, ahead of the audience, the advanced guard (a military metaphor) –

the avant garde

The artist out in front, ahead of the audience, the advanced guard (a military metaphor) –

the avant garde

“Music could quickly come to such a point, that everyone who is not precisely familiar with the rules and difficulties of the art would find absolutely no enjoyment in it.”

A critic reviewing the premiere of Beethoven’s 3rd Symphony

Early BeethovenEarly Beethoven

He speaks Classical – the language of Mozart & Haydn

BeethovenBeethoven

Model Romantic genius-type

Not a servant – an independent creator!

Concerts very long – a new audience; amateurs left behind

Music’s Trinity: Bach, Mozart, Beethoven

BeethovenBeethoven

9 symphonies

16 string quartets

32 piano sonatas

5 piano concertos

1 violin concerto

1 opera

BeethovenBeethoven

LISTENING EXAMPLE

Symphony No. 5 in C minor, 1st mvt.

Dramatic, even violent, but still in a perfectly structured sonata form

All 4 movements unified by famous short-short-short-long motif

1808

SchubertSchubert

Only 31 years old at his death

wrote 16 operas, only 3 performed in his lifetime; none performed today

between 500-600 songs

a rather unstructured life

The Art SongThe Art Song

A composition for solo voice and pianoA composition for solo voice and piano

Poetry and music are intimately fused Poetry and music are intimately fused

Song composers would interpret a poem, Song composers would interpret a poem, translating its mood, atmosphere, and translating its mood, atmosphere, and imagery into music. imagery into music.

Good Example of the art song:Good Example of the art song: The Erlking The Erlking

Schubert, Schubert, ErlkonigErlkonig 1815 (Goethe) 1815 (Goethe)

(Narrator) (Narrator) Wer reitet so spät durch Nacht und Wind? Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm. Er fasst ihn sicher, er hält ihn warm.

(Father) (Father) "Mein Sohn, was birgst du so bang dein "Mein Sohn, was birgst du so bang dein Gesicht?" Gesicht?"

(Son) (Son) "Siehst, Vater, du den Erlkönig nicht? "Siehst, Vater, du den Erlkönig nicht? Den Erlkönig mit Kron' und Schweif?" Den Erlkönig mit Kron' und Schweif?"

(Father) (Father) "Mein Sohn, es ist ein Nebelstreif." "Mein Sohn, es ist ein Nebelstreif."

(Erlking) (Erlking) "Du liebes Kind, komm geh mit mir! "Du liebes Kind, komm geh mit mir! Gar schöne Spiele spiel' ich mit dir; Gar schöne Spiele spiel' ich mit dir; Manch' bunte Blumen sind an dem Strand; Manch' bunte Blumen sind an dem Strand; Meine Mutter hat manch' gülden Gewand."Meine Mutter hat manch' gülden Gewand."

((Narrator) Narrator) Who rides so late through the night Who rides so late through the night and wind? and wind? It is a father with his child; It is a father with his child; he has the boy close in his arm, he has the boy close in his arm, he holds him tight, he keeps him he holds him tight, he keeps him warm. warm.

(Father) (Father) "My son, why do you hide your face "My son, why do you hide your face in fear?” in fear?”

(Son) (Son) "Father, don't you see the Erlking? "Father, don't you see the Erlking? The Erlking with his crown and The Erlking with his crown and train?” train?”

(Father) (Father) "My son, it is a streak of mist.” "My son, it is a streak of mist.”

(Erlking) (Erlking) "You dear child, come with me! "You dear child, come with me! I'll play very lovely games with I'll play very lovely games with you. you. There are lots of colourful flowers There are lots of colourful flowers by the shore; by the shore; my mother has some golden my mother has some golden robes." robes."

(Son) (Son) "Mein Vater, mein Vater, und hörest "Mein Vater, mein Vater, und hörest du nicht, du nicht, Was Erlkönig mir leise verspricht?" Was Erlkönig mir leise verspricht?"

(Father) (Father) "Sei ruhig, bleibe ruhig, mein Kind; "Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind." In dürren Blättern säuselt der Wind."

(Erlking) (Erlking) "Willst, feiner Knabe, du mit mir "Willst, feiner Knabe, du mit mir geh'n? geh'n? Meine Töchter sollen dich warten Meine Töchter sollen dich warten schön; schön; Meine Töchter führen den nächtlichen Meine Töchter führen den nächtlichen Reih'n Reih'n Und wiegen und tanzen und singen Und wiegen und tanzen und singen dich ein." dich ein."

(Son) (Son) "Mein Vater, mein Vater, und siehst "Mein Vater, mein Vater, und siehst du nicht dort, du nicht dort, Erlkönigs Töchter am düsteren Ort?" Erlkönigs Töchter am düsteren Ort?"

(Son) (Son) "My father, my father, don't you hear "My father, my father, don't you hear the Erking whispering promises to the Erking whispering promises to me?" me?"

(Father) (Father) "Be still, stay calm, my child; "Be still, stay calm, my child; it's the wind rustling in the dry leaves." it's the wind rustling in the dry leaves."

(Erlking) (Erlking) "My find lad, do you want to come with "My find lad, do you want to come with me? me? My daughters will take care of you; My daughters will take care of you; my daughters lead the nightly dance, my daughters lead the nightly dance, and they'll rock and dance and sing and they'll rock and dance and sing you to sleep." you to sleep."

(Son) (Son) "My father, my father, don't you see "My father, my father, don't you see the Erlking's daughters over there in the Erlking's daughters over there in the shadows?" the shadows?"

(Father) (Father) "Mein Sohn, mein Sohn, ich seh' "Mein Sohn, mein Sohn, ich seh' es genau, es genau, Es scheinen die alten Weiden so Es scheinen die alten Weiden so grau." grau."

(Erlking) (Erlking) "Ich liebe dich, mich reizt deine "Ich liebe dich, mich reizt deine schöne Gestalt, schöne Gestalt, Und bist du nicht willig, so brauch Und bist du nicht willig, so brauch ich Gewalt." ich Gewalt."

(Son) (Son) "Mein Vater, mein Vater, jetzt fasst er "Mein Vater, mein Vater, jetzt fasst er mich an! mich an! Erlkönig hat mir ein Leids getan!" Erlkönig hat mir ein Leids getan!"

(Narrator) (Narrator) Dem Vater grauset's, er reitet Dem Vater grauset's, er reitet geschwind, geschwind, Er hält in Armen das ächzende Kind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh und Noth; Erreicht den Hof mit Müh und Noth;

(Father) (Father) "My son, my son, I see it clearly, "My son, my son, I see it clearly, it's the gray sheen of the old willows." it's the gray sheen of the old willows."

(Erlking) (Erlking) "I love you, your beautiful form delights "I love you, your beautiful form delights me! me! And if you're not willing, then I'll use And if you're not willing, then I'll use force." force."

(Son) (Son) "My father, my father, now he's grasping "My father, my father, now he's grasping me! me! The Erlking has hurt me!" The Erlking has hurt me!"

(Narrator) (Narrator) The father shudders, he rides swiftly, The father shudders, he rides swiftly, he holds the moaning child in his arms; he holds the moaning child in his arms; with effort and urgency he reaches the with effort and urgency he reaches the courtyard:courtyard:

In seinen Armen das Kind war tot. In seinen Armen das Kind war tot. in his arms the child was dead.in his arms the child was dead.

Emotions? Balance, repose, clarity?

NO! FEAR &

SUPERNATURAL

EVILIs death tempting & attractive?

What is it about?What is it about?

The struggle between the father of a The struggle between the father of a gravely ill son and the Phantom figure, gravely ill son and the Phantom figure, The Erlking.The Erlking.

The Erlking symbolizes death, he wants to The Erlking symbolizes death, he wants to claim the child.claim the child.

Major versus Minor- The Erlking’s parts of Major versus Minor- The Erlking’s parts of the song are in a major key while the song are in a major key while everything else is in a minor key. everything else is in a minor key.

This major key among the minor suggests This major key among the minor suggests that death (the erlking) has a certain that death (the erlking) has a certain seductive quality. Inviting the child in…seductive quality. Inviting the child in…

Another Another developmentdevelopment

In the 1830s, composer/conductor Felix Mendelssohn conducts a performance of Bach’s Mass in B minor – so what?

MUSIC OF THE PAST BEGINS TO TAKE A PLACE ON CONCERT PROGRAMS – IT EVENTUALLY DOMINATES CONCERT PROGRAMMING

By 1870, seventy-five percent of works in the Gewandhaus (a famous German orchestra) repertory were by dead composers.

BerliozBerlioz Symphonie Fantastique

- program music- instrumental compositions that attempt to convey a specific idea without using lyrics

-Program symphony- pictorial or descriptive orchestral work in several movements

- themes of love, madness, drugs, death, demons

BerliozBerlioz Symphonie Fantastique

- idee fixe- recurring theme/fixed melodic idea that recurs throughout all movements of a symphony

- themes not worked-out in the German way; emphasis on effects and color

- 1831

Berlioz- Background Berlioz- Background on Symphonie on Symphonie FantastiqueFantastique

Berlioz fell in love (at first sight) with a theatre Berlioz fell in love (at first sight) with a theatre performer, Harriet Smithson.performer, Harriet Smithson.

He wrote Symphonie Fantastique for her, even He wrote Symphonie Fantastique for her, even though she did not know at the time, his though she did not know at the time, his feelings for her.feelings for her.

You can hear the point at which she rejected You can hear the point at which she rejected him. The movements start out happy and him. The movements start out happy and hopeful. At the point where she rejects him, hopeful. At the point where she rejects him, the movements turn dark (March to the the movements turn dark (March to the Scaffold). Scaffold).

When the character is “beheaded” in this When the character is “beheaded” in this movement, it symbolizes him being beheaded movement, it symbolizes him being beheaded from her rejection.from her rejection.

Good News is…Good News is…

When Harriet found out about Berlioz’s When Harriet found out about Berlioz’s love for her, she returned his affections love for her, she returned his affections and they ended up getting married. and they ended up getting married.

I. Reveries – PassionsA young musician, afflicted with "undirected emotionalism," sees the woman of his dreams and falls hopelessly in love . . .

II. A Ball

III. Scene in the Country

IV. March to the Scaffold. Convinced that his love is unrequited, the artist takes an overdose of opium. It plunges him into a sleep accompanied by horrifying visions. He dreams that he has killed his beloved, has been condemned and led to the scaffold, and is witnessing his own execution. The procession advances to a march that is now somber and savage, now brilliant and solemn. At its conclusion the idee fixe returns, like a final thought of the beloved, cut off by the fatal blow.

V. Dream of a Witches' Sabbath He sees himself in the midst of a frightful throng of ghosts, witches, monsters of every kind, who have assembled for his funeral. Strange noises, groans, bursts of laughter, distant cries. The beloved melody again reappears, but it has lost its modesty and nobility; it is no more than a vulgar dance tune, trivial and grotesque; it is she, coming to the Sabbath. A joyous roar greets her arrival.... She joins in the devilish orgy.... A funeral knell, a parody of the Dies irae. A Sabbath round-dance. The Dies irae and the round-dance are combined.

(Dies irae – traditional text and chant melody, part of the requiem mass for the dead)

Goya, Goya, WitchesWitches’’ Sabbath, Sabbath, c. c. 1819-231819-23

ChopinChopin

Famous pianist, but gave only 14 public performances in his 39-year life!

FrédéricFrédéric Chopin ChopinNocturne in F minor, Opus 55, No. 1

-- introspective mood; psychologically probing?

-- as if "spontaneous" or improvised (in fact neatly structured)

-- a distant view of folk music (note the veiled suggestion of dance music), which relates to the Romantic interest in ethnicity and Nationalism

-- expanding use of chromatic harmony

-- use of dissonance for color

Goya,Goya,The Sleep of The Sleep of

Reason Brings Reason Brings Forth MonstersForth Monsters

1796-81796-8etchingetching

Richard WagnerRichard Wagner

OPERA INNOVATOR

The Ring – over 18 hours of music

Took 28 years to complete the libretto and music for the Ring Cycle

Tristan und IsoldeTristan und Isolde

1865

A little break from The Ring

Previously tries to integrate all arts into single theatrical experience; changes his mind – Music reigns supreme

Wagner- Ride of the Wagner- Ride of the ValkyrieValkyrie

Part of the Ring Cycle- Basically the Lord Part of the Ring Cycle- Basically the Lord of the Rings story (the 1800s version)of the Rings story (the 1800s version)

The Valkyrie- This part of the Ring Cycle The Valkyrie- This part of the Ring Cycle represents the seven horsemen of the represents the seven horsemen of the Apocalypse coming to destroy the EarthApocalypse coming to destroy the Earth

Tristan und IsoldeTristan und Isolde

Wagner

- wrote the words

- wrote the music

- designed the sets

- designed the costumes

- directed the stage action

“Gesamkunstler” “total artist”

Designed and built Designed and built theater at Bayreuththeater at Bayreuth

1957 production of Parsifal

Tristan und Isolde Tristan und Isolde (1865)(1865)

-- expanding use of chromatic harmony over long spans of time

-- opera expands in size: larger orchestra, longer operas (The Ring takes four evenings to perform)

-- sophisticated orchestration

-- opera is now continuous: the aria/recitative concept is replaced by "continuous melody"

-- Wagner develops the idea of "leitmotif," in which a brief musical idea is associated with a character, idea, or object in an opera (Like Peter and the Wolf)

Tristan und Isolde – Tristan und Isolde – how Romantic?how Romantic?

• Medieval tale of chivalry

• exotic (Ireland & Cornwall)

• magic potion & sorceress

• emotionally fluid, passionate

• psychologically probing

• unified through leitmotifs

• Medieval tale of chivalry

• exotic (Ireland & Cornwall)

• magic potion & sorceress

• emotionally fluid, passionate

• psychologically probing

• unified through leitmotifs

Love, Death – transcendence - ECHT!

““FolkFolk”” NATIONALISMNATIONALISM

Verdi and V.E.R.D.I

Composer as national/popular figure

LISTENING EXAMPLE FROM Rigoletto

“La Donna Mobilé”

Aspects of Aspects of Romanticism in music Romanticism in music

& art& art• THE ARTIST APART FROM SOCIETY

• THE ARTIST AS SOCIAL CRITIC/REVOLUTIONARY

Beethoven’s 9th Symphony

• THE ARTIST AS GENIUS/CULTURAL HERO

BEETHOVEN: “Why bow to social status?”

Aspects of Aspects of Romanticism in music Romanticism in music

& art& art• Nature (idyllic or awesome, sublime)

“organic unity” (music) BEETHOVEN SYMPHONY No. 5

• Supernatural – Berlioz, WAGNER TRISTAN

• dream world, interior world CHOPIN NOCTURNE

• exoticism – Beethoven Symphony No. 9

• “ancient” (Medieval) WAGNER TRISTANold – Bach

• folklore and Das Volk (Nationalism)WAGNER The Ring

Finding Beethoven Finding Beethoven today…today…

Walter Murphy’s “A Fifth of Beethoven”Walter Murphy’s “A Fifth of Beethoven” http://www.youtube.com/watch?http://www.youtube.com/watch?

v=4MFbn8EbB4kv=4MFbn8EbB4k

Moonlight SonataMoonlight Sonata

http://www.youtube.com/watch?v=wFnT46U-http://www.youtube.com/watch?v=wFnT46U-7dA7dA

Moonlight Sonata RemixMoonlight Sonata Remix

http://www.youtube.com/watch?http://www.youtube.com/watch?v=ckOh86bm798v=ckOh86bm798