Bela BecerraBridgette Tolbert

Claire Votava

19th Century MusicThe Romantic Era

The Romantic Era: Music• Romanticism-categoryofWesternClassicalMusicinthe19thCentury

• Notnecessarilyassociatedwithlove.Describesevoutionoftraditionallyacceptedstructuresofmusic.

•Musicbecamemorepassionateandevocative,revealedrawandintensehumanemotions,resultinginaudience’sincreasedconnectiontomusic

• Soundcharacterizedbypredominantmelodyandreso-nantharmonies.Rhythmnotalwaysprecise,opentoin-terpretation.

•Themainthemeistransformedandalteredthroughoutthepiece,evidentinLisztandWagener’swork.

• LiteratureandArtinfluenced19thCenturycomposers.• IndustrialRevolutioncontributedtoimprovementofwindinstruments,leadingtoincreasedincorporationofwindsinorchestralpiecesandthegrowthofOrchestrasintolargersymphonies.

• Growthofmiddleclasscouldperformandproducema-terialforlargeraudiencesinbiggervenues

• Conceptof‘independentrecitals’developedbyFranzLiszt.Performingwithoutaccompanimentshowcasedunprecedentedtalent.

students with suggestions and advice, cultivating their potential and transforming it into talent.

JK: The young musicians must be extremely grate-ful for your expertise. Could you explain your style of teaching and approach? FL: I do not focus on the technical side of musical pieces, for I expect that each student should possess the skills to be able to play both the correct notes and in rhythm. However, I emphasize the interpretation of each piece. I will advise a student to maintain his or her authentic identity as a pianist, attempting to elicit the emotion that each student is experiencing. I do not support the idea that a musical composition should be played in solely one manner. The emotion associated with music is freely up to the artist’s interpretation. JK: I completely agree with your teaching methods. Not only do your students have access to the greatest piano virtuoso, they are also able to practice in the state of the art Hungarian Academy. What brand of piano’s do you personally prefer to play on? FL: I recently received a Steinway Piano from Mr. Steinway in the United States and I am astounded by its sonorous tone and pristine quality of sound. I ad-mire the Steinway & Sons piano manufacturing com-pany, for the pianos are exquisitely made, consistently producing melodious and rich tones.

JK: Franz, you are currently recognized as the greatest concert pianist in. You have traveled all throughout Eu-rope, inspiring passion and awe within your audiences. Could you describe the atmosphere of your concerts? FL: The process of performing in front of a large audi-

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FRANZ LISZT: The Greatest Musical In-novator of our TimeJózef Kovács

As a blanket of mist surrounds the Hungarian Music Academy, creating a dream like atmosphere, the renowned composer and piano virtuoso, Franz Liszt, magnificently enters the opulent music room. The scene is that of a dream, as Liszt elegantly ap-pears in front of me, extending a friendly handshake. As I glance up at the greatest pianist of the 19th century, I am paralyzed, at a loss for words. Liszt, true to his affectionate character, simply chuckles and exclaims that I must have tea, attempting to calm my apparent nerves.

JK: Mr. Liszt, may I just say it is an honor to be in your presence. FL: Oh Mr. Kovács please call me Franz. Mr. Liszt makes me feel very old.

JK: Of course. May I begin by congratulating you on your position as President of the Hungarian Music Academy. FL: Why thank you. I must say though that my favor-ite part of my new position is serving as a teacher for many talented pianists. I am able to provide the

ence is quite magical, for I communicate with each audience through my music. We connect by experienc-ing similar emotions or feelings. As the years pro-gressed, the audiences became extremely passionate, especially the females. As I would throw my gloves into the amorphous sea of people, women would vi-ciously fight over each delicate piece of fabric. Fur-thermore, many would follow me, searching for any discarded remnants such as cigarette butts or locks of hair. While I was often times perplexed and alarmed by certain women’s behaviors, I eventually learned to accept their actions as forms of flattery.

JK: You must have loved the female attention! Could you describe your distinct performance style? FL: Before I became a concert pianist, musicians would perform either in ensembles or orchestras. While there were piano solos in many pieces, a pianist would additionally play with an accompaniment. How-ever, as I began to perform and compose my own mu-sic, I would independently play for an audience. It is of great importance to keep the audience captivated while you play. Therefore, many of my performances were quite theatrical, for I employed an ostentatious style of playing. Additionally, unlike previous per-formers, I would play from memory, which shocked many people.

JK: Having attended many of your concerts, I must say that your performance is captivating and you simply ooze of virtuosity and brilliance. During your concerts, you play both your music and the traditional classical music from 100 years ago. Evidently, there is a clear distinction between the two. May you please

elaborate on the development of 19th century Romanti-cism and its effects on your compositions? FL: Unlike the traditional classical music, my com-positions are heavily influenced by 19th century Ro-manticism. Romanticism is a term that describes the evolution of music as it becomes more evocative and melodious. The music of the 19th century reveals raw and intense human emotion, where as the music from previous centuries lacks great passion and zest. Fur-thermore, many pieces exhibit a main theme, which creates a sense of uniformity. Throughout many of my musical compositions, I alter the main themes in a piece, which is an innovative 19th century technique. JK: How would you describe your music? FL: My music is filled with passion and expression. My compositions reveal my innermost desires, emotions, and dreams. Through my musical works, one may peer into my soul. Everything that I compose reflects my character and the mindset I obtained while produc-ing each piece. My music is melodious and difficult to master. Not only are there great technical demands, but one must also emote and feel the music. A musician cannot solely rely on technical skill while performing my works. JK: Lastly, what do you want your legacy to be? FL: I hope that many may remember me as an indi-vidual that inspired passion, joy, and vitality within my audience. Additionally, I hope that I will be re-membered as someone who challenged the traditional musical standards, attempting to promote a new style of music that speaks to my character.

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The Romantic Gazetteout Europe, contributing to the evolution of musical performances. During his frequent concerts, Liszt throws his pristine white tailored gloves towards the masses of hysterical women, creating frenzy among the unruly crowds. Women of status and sensibility are overcome by euphoria created in response to Liszt’s melodious virtuosity. Spectators reveal, “Liszt’s playing raises the mood of the audience to a level of mystical ecstasy”. While females enjoy Liszt’s performances, husbands have raised concern, for their wives develop irratio-nal behaviors. Many women have pounced on the renowned concert pianist, ripping off parts of his clothes in search for remnants of his locks of long hair. Doctors have studied Lisztomania and are attempting to provide the population with immunity towards the contagious disease that is consuming many weak females that easily succumb to tempta-tion. Signs of Lisztomania include fainting spells, increased blood pressure, and unreasonable conduct. If either you or a loved one has experienced any of the specified symptoms, please consult a physician immediately.

LIZTOMANIA: New Epidemic of the 19th Century?Józef Kovács

As the diseases and plagues of recent centu-ries slowly dwindle, becoming less frequent, a new contagious phenomenon spreads like wildfire through-out Europe, largely affecting the female population. Franz Liszt, a piano virtuoso with unprecedented skill, has taken Europe by storm, inspiring passion and stupefaction within his enthusiastic crowd. While Liszt strays from the traditional classical form of mu-sic, daring to pursue imaginative concepts, academic musicians praise him for his apparent talent. Franz Liszt has defied the limitations as-sociated with classical music, employing innovative techniques evident in his wildly extravagant composi-tions. Similar to Liszt’s music, his concerts are quite flashy, for he performs from memory and plays the piano without any accompaniment. Previously, it was deemed quite arrogant to play a piece without sheet music. However, Liszt’s ability to recall the music adds to his magical presence. While solo recitals were denounced, Liszt has captivated audiences through-

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REPORT: Saint-Saëns Flees ParisBridgette TolbertMusic Editor

WINTER 1871- Reports are coming in today that composer Camille Saint=Saëns has fled Paris in response to the Paris Commune. Several anonymous sources close to Saint-Saëns have disclosed that he is current-ly staying in London, but further confirma-tion is needed. This decision is in great contrast to the one he made during the Franco-Prussian War just a short time ago. Although at high risk due to his familial ties to emperor Napo-leon III, Saint-Saëns remained in Paris dur-ing the war after being relieved of his mili-tary duties. Social status and fame seem to have played in role in his decision to flee, many saying that they pose a major threat to his

survival during this terribly uncertain time.

*** When Saint-Saëns returned to Paris after the Commune was over, he launched the Société de Musique with Romain Bussine and Henri Dumarc in an effort to promote French orchestral music and new French composers. Early members of the society included the composers Debussy, Fauré, and Ravel.

with great care.

Bridgette Tolbert: On your fifty-first birth-day, you conducted Suite No. 3, and from the stories that came overseas it was smashing. What are your thoughts?Tchaikovsky: I was terribly anxious the morn-ing of the concert; I was quite surprised by

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INTERVIEW WITH TCHAIKOVSKY AF-TER RETURN FROM AMERICABridgette TolbertMusic Editor

June 1981

Bridgette Tolbert: I understand that you went to New York to conduct your works in the opening celebrations of Andrew Carn-egie’s Music Hall, how was the orchestra and the hall?Tchaikovsky: The orchestra was quite excel-lent, better than I was expecting actually. At the opening concert of the Music Hall, I conducted my Coronation March. It was a great success; I experienced satisfaction in the end. The Hall is beautiful and made

Sketch of Andrew Carnegie’s Hall on Opening Night.

my fears since I had conducted the suite many times before! In the end the orches-tra was great, I was conducting, and the papers remarked that it was ‘a sensation’.

Bridgette Tolbert: Do you notice a differ-ence between the reviews of your concerts and works here in Europe and overseas in the United States?Tchaikovsky: Very much so! A third con-cert that was held featured Adele aus der Ohe performing my Piano Concert No. 1. The cheering without end, and the waving of handkerchiefs, coupled with the sonorous applause in the Hall produced a reception bigger than I had ever witnessed in Russia! Quite peculiar, don’t you think? The Ameri-cans seem to thoroughly enjoy my work.

Bridgette Tolbert: Besides performances, what else did you do in America?Tchaikovsky: I was able to visit Niagara Falls, see the cities of Baltimore, Washing-ton D.C., Buffalo, Philadelphia in between engagements, and I was able to attend a dinner in my honor was thrown by the Composer’s Club at the Metropolitan Opera. The day after the dinner, I left New York on the Prince Bismarck, and headed over-seas back Russia.

Bridgette Tolbert: Thank you for your time Mr. Tchaikovsky, the public awaits the re-turn of your new masterpieces in the fu-ture!Tchaikovsky: I am currently working on the Nutcracker Suite, if you are able to keep this off the record, I can give you more details.

***Off the Record - NOT PUBLISHED***

Bridgette Tolbert: Do tell! Tchaikovsky: A new musical instrument

Playbill from the series of concerts held.

Sketch of the Celeste.

The Romantic Gazettehas been brought to my attention: the celeste. It means heavenly in French. The celeste resembles an upright piano, but has a lovely, heavenly sound to it. I have made arrange-ments for the instrument to be kept from Rimsky Korsakov because he would most definitely use it in a composition before I could. I currently envision the celeste having a sizable part in the Nutcracker suites that I am currently sketching.

Bridgette Tolbert: Thank you once again!

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TIMELINE OF TCHAIKOVSKY’S LIFEBridgette TolbertMusic Editor

In the wake of Tchaikovsky’s death, The Romantic Gazette has built a timeline of the most important events of the late legend’s life.

1840- Peter I. Tchaikovsky born in Votkinsk, Russia, the second of the couple II’ia Tchai-kovsky, a mining engineer, and Aleksandra Tchaikovskaia.

1845- Tchaikovsky begins piano lessons.

1850- Enrolls in the all-boys Imperial School of Jurisprudence in Saint Petersburg.

1854- Mother dies of cholera, writes Anastasie-Valse shortly after in her memory.

1859- Works as a civil servant in the Ministry of Justice, frequently goes to operas, theaters, and concerts in Saint Petersburg.

1862- After enrolling at the new Saint Petersburg Conservatory, publishes first composition, Mezza Notte.

1863- Resigns from Ministry of Justice to concentrate on studying music.

1865- Premiere of the Characteristic Dances in Pavlovsk Russia, first public performance of any of his works.

1866- Premier of the cantata Ode to Joy at the Saint Petersburg Conservatory Graduation examinations, which earned a silver medal.

1870- Flees to Switzerland following outbreak of the Franco-Prussian War, stays in Interlak-en visits Munich and Vienna on way back to Moscow.

1872- Premieres revised Romeo and Juliet score in Saint Petersburg with more critical suc-cess than his first attempt that went unnoticed.

1875- Starts work on his first ballet, the Swan Lake. Meets Saint-Saëns in Moscow.

1880- His father dies.

1882- Premieres Overture of 1812 at the Arts and Industry Exhibition in Moscow to com-memorate Russia’s defense of Moscow against Napoleon’s Grande Armée at the Battle of Borodino.

1883- Premieres the Coronation March at the coronation of Alexander III in Moscow.

1885- Granted lifetime annuity of 3000 rubles by Alexander III. Writes, premieres, and con-ducts Symphony No. 5 in Saint Petersburg.

1891- Starts work on The Nutcracker. His sister, Aleksandra, dies. Crosses Atlantic on Steam Ship, La Bretagne, to go on an American tour in New England.

1892- Completes The Nutcracker, starts and abandons Symphony in E Flat Major.

1893- Receives Honorary Doctorate of Music at Cambridge University with Boito, Saint-Saëns, Bruch, and Grieg. Begins converting Symphony in E Flat Major to Piano Concerto No. 3. Starts work on Symphony No. 6 early in the year and premieres it in late October. November 6, Tchaikovsky dies around 3 A.M. from complications with cholera.

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cial troubles arose, the Wagners fled to Lon-don, and this difficult journey, was Wagner’s inspiration for The Fly-ing Dutchman. After living in London, they moved to Paris and shortly after, to the Dresden Court of Saxony where Wag-ner became involved in Leftist politics. Be-

cause of his desire for the unification of the German States, and his involvement in the socialist movement, the Wagners had to flee to Zurich, Switzerland. While living in exile and feeling iso-lated from the German musical world, Wag-ner wrote many operas such as Der Ring des Nibelungen and many essays such as The Art-Work of the Future. The political ban in Germany that was placed on Wagner was lifted in 1861,andthen he moved back to Prussia where he was unable to complete any operas which added to his financial woes. The next year, Wagner finally split from Minna after a very troubled marriage and she died four years later. Wagner’s luck improved, when he was brought to Munich under the young King Ludwig II. There, he met my daughter Co-sima, and although I disapproved of their af-fair, he fathered many of her children and in the end she divorced her husband and mar-ried Wagner until the end of his life. Wagner faced many personal, financial and political woes, and we often disagreed, but he was a dear friend of mine. His op-eras were magnificent, and Wagner was the prophet of true dramatic art, which is the soul of both poetry and painting, as well as music.

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RICHARD WAGNER DIES FROM HEART ATTACK AT AGE 69Franz Liszt

Early yesterday morning the great composer, and my dear friend, Richard Wag-ner, died from a heart attack in Venice, Italy. Famed for his grand operas such as the Flying Duchman, and Tannhäuser, Wagner was a musical genius who will be missed by many. Born in Leipzig, from a very early age, Wagner was influenced greatly by his step-father Wilhelm Richard Geyer who was enthusiastic about theater music. When en-rolled in Pastor Watzel’s school he received piano instructions from his Latin teacher who shaped his view of music and became experienced in playing theater overtures by ear. When Geyer died, he went to grammar school where he worked toward his ambition to be a playwright. After this he persuaded his family to pay for music lessons, and from then on he loved the idea of infusing drama and music in operas. Musicians such as Beethoven and Mozart, also influenced Wagner and his enthusiasm for music and his first attempts at orchestral overtures. Many do not know this but at age twenty, Wagner completed his first opera titled Die Feen, this opera will premiere posthumously next year in Munich. After a brief job as a musical director in Magdeburg, Wagner fell in love with the actress Christine Wilhelmine “Minna” Planer, and married her soon after. They moved to Riga, where he was the musical director of an opera. That year, his wife left him for another man. Despite this rift Wagner rec-onciled with her, shortly after. When finan-

TIMELINE OF WAGNER’S LIFEClaire VotavaMusic Co-Editor

1813 – Richard Wagner was born in Leipzig, Germany on May 221820 – Enrolls in school1828 – First piano transcription1833 – First Opera Composed1836 – Marriage to Christine Planer1840 – Wagner finishes Rienzi1843 – Wagner com-pletes The Flying Dutchman (inspired by stormy pas-sage to London with wife)1845 – Wagner finishes the opera Tannhäuser1850 – Wagner completes Lohen-grin1859 – Wagner finished the opera based on Tristan and Isolde 1859 – Wagner writes The Mastersingers of Nürnberg 1864 – King Ludwig II1870 – Marriage to Cosima 1876 – Opening of Bayreuth Theater1876 – Ring of the Nibelungen performed in Bayreuth1883 – Richard Wag-ner died in Venice on February 13 from a heart attack

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FREDERICK CHOPIN(1810-1849)Born near Warsaw (French father, Polish Mother)At eight years old he was a child prodigy, successful concert tour around Europe 1831 --> settled in parisRomance with George Sand in Ma-jorcaMusicians who were performers, not composers -airs and variations, fantasies, pot-pourris -concerts solely for the purpose of showing off technical skills-all the rage in the 1830s drawing rooms-finally brought virtuosity and technicality togetherPianist --> wrote exclusively for piano Sound bore no resemblance to classical composersMelodist vs. new harmonic system --> so beautiful/bold that they were forced to accept itResembled bel canto of Italian OperaMost romantic --> reflected changing moods-melancholy, tenderness, amours exaltation, nostalgia for homeland-despair of it suffering under oppression Wrote chamber musicMore than 200 compositions for solo pianoQuarrel with George in 1847Died from tuberculosis October 17, 1849Creator of Melody

COMPOSER BRAHMS DEAD AF-TER EXTENDED ILLNESS Bridgette TolbertMusic Editor

VIENNA, April 3-Johannes Brahms, the famous composer and pianist has died from cancer of the liver. The cancer had developed from the jaundice he had contracted last fall that was ineffectively treated. Brahms was not told about the seriousness of his condi-tion has he detiorated. Born in Hamburg, Brahms showed promise of musicality from an early age on the piano. As a young adult, Brahms gave a couple of public concerts, but he began to draw attention as a composer when he went on tour with the violinist Eduard Reményl in 1853, where he met composers Joachim, Liszt, and Schumann. He remained friends with the compos-ers throughout his life, and even carried out a deep, platonic relationship with Schumann’s wife 14 years his senior. Brahms was neither married nor engaged during his lifetime. By 1862, Brahms moved to Vienna and paid full attention to his composing; his com-positions were received well by colleagues. After the death of his mother in 1866, he composed the choral German Requiem that gave him the status of being regarded as one of the great composers of our era; quite a turn from the initial backlash he received from critics after debuting his first piano concerto in 1859. Brahms adored Beethoven and his Ro-mantic contemporaries believed he imitated

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the form of themes from Beethoven’s ninth symphonies and Hammerklavier sonata and used them in the last movements of his first symphony. Brahms also considered the Classi-cal composers Mozart and Haydn among his inspirations. In 1870, Brahms became the conduct of the Society of the Friends of Music and conducted the group until 1875. After 1875, Brahms, once again, dedi-cated his time solely to composition, and secluded himself from most of society. He had been offered a Doctor of Music degree by Cambridge University twice, but because the acceptance was in England and included praise from the public, he declined the honor that the likes of Tchaikovsky and Grieg had received. Instead, he opted for a less presti-gious degree of Doctor of Philosophy from the University of Breslau. Although not all of his collection of over 200 works gained fame during his life-time, it is quite apparent that his music will continue to be explored into the next cen-tury, and gain even more popularity. For now though, we mourn the loss of a great com-poser and musician, who is grouped with J.S. Bach and Beethoven as Hans von Bülow said best, one of the “Three Bs”.

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