music of the romantic period

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Characteristics of Romantic MusicAge of Beethoven

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Page 1: Music of the Romantic Period
Page 2: Music of the Romantic Period

Peter Ilyich Tchaikovsky

Frederic Chopin

Camille Saint-Saenz

Hector Berlioz

Niccolo Paganini

Franz Liszt

Russia

Page 3: Music of the Romantic Period

How do you express your feelings?

What do you feel when these emotions are not expressed?

Page 4: Music of the Romantic Period

Romantic Inspiration and Creativity

CLASSICAL MUSIC• Adherence to reason and

tradition• Sought to achieve unity,

order and balance• Drew inspiration from the

monuments of Greece and Rome

• Classical artists exalted those of the masses

ROMANTIC MUSIC• Revolt against Classical

Period• Leaned toward self-

expression• Drew inspiration to human

imagination and the wonders of NATURE

• Romantic artists exalted instinctive feelings (individual and personal ones).

Page 5: Music of the Romantic Period

I celebrate myself , and sing myself.

Page 6: Music of the Romantic Period

LAB LAB LOOOOOOVE!!!

Page 7: Music of the Romantic Period

“I perform most faithfully the duties the HUMANITY, GOD and

NATURE enjoin upon me.” -BEETHOVEN (1821)

“Pastoral” Symphony (SYMPHONY NO. 6) the first important

Romantic “Nature Piece”

Page 8: Music of the Romantic Period

DESPAIR, FRENZY and HEAVENLY EXALTATION were others expressed in music and poetry.

The range of expression was broadened in Romantic music can be seen in the “expression marks” that came

into being at this time:

• Espressivo (expressively)• Dolente (Sadly)• Presto furioso (fast and furious)

• Con forza e passione (with force and passion)• Misterioso (mysteriously)• Maestoso (majestically)

Page 9: Music of the Romantic Period

• The Romantic era spans from 1820 A.D. up until 1900 A.D.

• It can be characterized by the individuality of style. Emphasizes self-expression and individuality in compositional style.

• The music is generally very programmatic, where the instrumental music depicts a story, idea or a poem..

(e.g., Smetena’s “The Moldau” depicts scenes along the Moldau River)• Nationalism becomes important during this era, where

composers created music using folk song, history and dances of their homelands.

• There is a variety of mood, atmosphere and tone color.

Music of the Romantic Period

Page 10: Music of the Romantic Period

• The Orchestra expanded due to the growing size of concert halls and opera houses

• Addition of contrabassoon, bass clarinet, piccolo and the cor anglias in the woodwind section.

Page 11: Music of the Romantic Period

• Huge technological improvements in musical instruments sprung which made them more flexible and accurate.

• New sounds were created/used in all instruments.• Flutes were required to play in breathy , low

registers;• Violins were asked to strike the strings with the wood

of the bow – col legno.• All instruments were required to play with more

virtuosity.

Page 12: Music of the Romantic Period

Melody

Harmony

Melody is more flexible and irregular in shape than in the Classical period; long, singable lines with powerful climaxes and chromatic inflections for expressiveness.

Greater use of chromaticism makes the harmony richer and more colorful; sudden shifts to remote chords for expressive purposes; prolonged dissonance conveys feelings of anxiety and longing.

Page 13: Music of the Romantic Period

Color

Rhythm

Rhythms are free and relaxed, occasionally obscuring the meter; tempo can fluctuate greatly (tempo rubato) and sometimes slows to a crawl to allow for “the grand gesture”.

The orchestra becomes enormous, reaching upward of one hundred performers; trombone, tuba, contrabassoon, piccolo and English horn were added to the ensemble; experiments with new playing techniques for special effects; dynamics vary widely to create extreme levels of expression; piano becomes larger and more powerful.

Page 14: Music of the Romantic Period

Form

Texture

Predominantly homophonic but dense and rich because of larger orchestras and orchestral scores; sustaining pedal on the piano also adds to density.

Composers wrote musical miniatures as well as monumental pieces. Some genres are carried over from classicism, but are more greatly exploited, such as sonatas and symphonies. A few new forms are invented.

Page 15: Music of the Romantic Period

Art Song

• It is standardly a composition for solo voice and piano. Poetry and music are thus intimately fused.

• The best Art Song composers of the Romantic era include Schubert, Schumann and Brahms.

• The Art Songs based on German texts tended to favour the poets Heine and Goethe.

• The song composers interpret the poems, translating t heir mood and atmosphere into music.

Page 16: Music of the Romantic Period

StrTypes of Art Songs

StrophicThe same music is used for each stanza. Like a

hymn in structure.

Through-composedNew music for each stanza. Allowing music to

reflect changing moods in the poem.

Song Cyclescontains several art songs, grouped into a set.

Often unified by a s ingle story line. i.e. : Schubert’s “The Winter Journey”

Page 17: Music of the Romantic Period

Ludwig Van Beethoven (1770-1827)

• Beethoven was born on or about December 16, 1770 in the city of Bonn in the Electorate of Cologne, a principality of the Holy Roman Empire.

• He was baptized on December 17, 1770.• He has two younger brothers, Caspar, born in 1774, and

Johann, born in 1776.• Beethoven's mother, Maria Magdalena van Beethoven, was a

slender, genteel, and deeply moralistic woman.• His father, Johann van Beethoven, was a mediocre court

singer better known for his alcoholism than any musical ability.

• Beethoven's grandfather, godfather and namesake, Kapellmeister Ludwig van Beethoven, was Bonn's most prosperous and eminent musician.

Page 18: Music of the Romantic Period

• Beethoven's father began teaching him music with an extraordinary rigor and brutality that affected him for the rest of his life.

• He had his first recital on March 26, 1778. Billed as a “little son of six years,”

• Attended a Latin grade school, Tirocinium.• “Music comes to me more readily than words”, (Beethoven). • In 1781, he withdrew from school to study music full time

with Christian Gottlob Neefe, the newly appointed Court Organist.

• In 1787, the court sent Beethoven toVienna , where he hoped to study with Mozart.

• He composed a cantata when the Holy Roman Emperor Joseph II died in 1790. He was 19 years by then.

Page 19: Music of the Romantic Period

• In 1792, Beethoven decided to leave his hometown for Vienna once again.

• He studied piano with Haydn, vocal composition with Antonio Salieri and counterpoint Johan Albrechtsberger.

• Beethoven made his long-awaited public debut in Vienna on March 29, 1795.

• On April 2, 1800, he debuted his Symphony No. 1in C major at the Royal Imperial Theater in Vienna.

• His “Six String Quartets.” published in 1801.• Also composed THE CREATURES OF PROMETHUES in

1801, a wildly popular ballet that received 27 performances at the Imperial Court Theater.

• Beethoven debuted his Symphony No. 3 in Napoleon’s honor.

Page 20: Music of the Romantic Period

I must confess that I lead a miserable life. For almost two years I have

ceased to attend any social functions, just

because I find it impossible to say to

people: I am deaf. If I had any other

profession, I might be able to cope with my infirmity; but in my

profession it is terrible handicap.”

Page 21: Music of the Romantic Period

Despite his rapidly progressing deafness, Beethoven continued to compose at a furious pace. From 1803-1812, what is known as his “middle” or “heroic” period, he composed:

• An opera• Six symphonies• Four solo concertos• Five string quartets• Six string sonatas• Seven piano sonatas

• Five sets of piano variations

• Four overtures• Four trios• Two sextets • And 72 songs

Page 22: Music of the Romantic Period

Beethoven as the BRIDGING GAP between Classical and

Romantic Music

Beethoven is one of the greatest composers of all time. His compositions broke barriers, brought about the romantic era in

classical, and were influenced by what was going on around him. Beethoven's stylistic innovations bridge the Classical

and Romantic periods. The works of his early period brought the Classical form to its highest expressive level, expanding in

formal, structural, and harmonic terms the musical idiom developed by predecessors such as Mozart and Haydn. The

works of his middle and late periods were even more forward-looking, appropriately being categorized in and contributing to the musical language and thinking of the Romantic era, directly

inspiring other Romantic composers such as Frédéric Chopin, Franz Schubert, Felix Mendelssohn, Robert

Schumann, Franz Liszt, Richard Wagner, and Johannes Brahms.

Page 23: Music of the Romantic Period

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3 Phases of Beethoven’s career

1st Phase (1770-1802):• His music was strongly influenced by Mozart and Haydn.• He wrote his first two Piano concertos, first two

symphonies, string quartets Op. 18 and first 10 piano sonatas.

2nd Phase (1802-1815):• In this period he was going deaf.• HE greatly expanded upon existing forms and infused his

music with HEROIC EXPRESSION.• Works include KREUTZER SONATA for violin and Piano;

his only violin concerto; 3rd, 4th and 5th piano concertos; Some of his greatest piano sonatas, “Les Adieux”, “Waldstein” and “Appasionata”

Page 24: Music of the Romantic Period

c

3rd Phase (1815-1827)• He was now totally deaf• He departs substantially from established

conventions, both in form and in style.• His works include the 9th symphony, the

Missa Solemnis, and the late piano sonatas and string quartets

Page 25: Music of the Romantic Period

Works of Beethoven

• Beethoven, used classical forms and techniques but gave them new POWER and INTENSITY.

• His works convey TENSION and EXCITEMENT through syncopations and dissonances

• There is an enormous range of expression in his works: tempo, dynamic and expressive indications are marked far more extensively in his scores than his predecessors.

• He had markings such as “<p”• He unified the movements of his symphonies, sonatas and

string quartets• One movement leads directly into another without a pause

(attaca).• There are thematic interrelationships between movements.

Page 26: Music of the Romantic Period

• Many of his movements use sonata form, but the development sections used the coda and greatly expanded.

• He uses the SCHERZO rather than the MINUET for the 3rd movement of his pieces.

• His MOST FAMOUS WORKS are his 9 SYMPHONIES.• In some of his symphonies, he adds piccolos, trombones and

contrabassoon.• The odd-numbered symphonies are more forceful, whereas the

even-numbered symphonies are very calm and lyrical. • His Symphony No. 9 is the FIRST up to that time in music

history to use a choir, which we hear in the “Ode to Joy” finale movement.

• He wrote 32 piano sonatas; 16 string quartets, 5 piano concertos, 1 opera (“Fidelio”), 1 ballet, 1 violin concerto and 2 masses.

• He incorporated fugues extensively in his later works.

Page 27: Music of the Romantic Period

Beethoven’s Symphony no. 3“Eroica Symphony”- it was intended to reflect on the

life of Napoleon. However, Beethoven scratched out its dedication to Napoleon when he found out that the general had invaded Austria. This symphony was the longest symphony ever composed at the time of its premiere.

Page 28: Music of the Romantic Period

Symphony no. 5Beethoven unifies all contrasting movements. The first

four-note motif is used extensively in first movement and third movements. The third movement theme reappears in the finale. The last two movements are connected by a bridge. This contrasting element that he retained by employing the motif in all four movements of Symphony no. 5 is known as a CELL

Page 29: Music of the Romantic Period

The End