A powerpoint outlining the principles of music in the Romantic era, used in conjunction with the New Brunswick Music 111/112 Curriculum,

1. The Romantic Era Music 111/112

2. The Romantic Era (1815 – 1910) A period of change; emancipation from values and norms set forth during the Classical era Changes occurred in music, art, literature Themes Forms Ensembles

3. The Classical Era Strict rules about social and musical norms Lighter, melodically-charged music Tonality-centres The Romantic era came about as a rejection of these ideas for a more human, explorative, less contrived state of mind as reflected in their music

4. Tonality In earlier music, composers deviated from the tonal centre of a piece and used dissonance only to make the return to the tonic more satisfying Romantic composers began to reject some of the ideas put forth by Bach and those who came after him on the subject of tonality and harmony: they found that dissonance and tonal ambiguity served the themes they strived to communicate in their music

6. Themes in Romantic Music The trials and tribulations of unrequited love The supernatural The pastoral Exoticism/adventure The misunderstood artist The moon Sturm und Drang

7. Bridging the Gap: Beethoven

8. Bridging the Gap: Beethoven Beethoven is commonly considered to be the composer who represents the transition between Classical and Romantic music Early years: Studied with Haydn which likely informed his earliest compositions Was referred to as “Mozart’s replacement” : much of his early music exemplifies Mozartian qualities Master of counterpoint

9. Beethoven In his early years, Beethoven was not known for his composition but for his work as a pianist As his hearing began to deteriorate, Beethoven resolved to focus himself on writing rather than playing The crisis brought on by his loss of hearing at the turn of the century  themes of war, heroism and struggle in his work (Symphony No. 5, for example)

10. Beethoven Celebrated in his middle period for combining familiar elements and techniques of Classical music with innovative use of themes, texture, emotion and form. In spite of his loss of hearing, tackled the largest forms: string quartet and symphony Symphonies 3 – 8 Appassionata Fidelio

11. Beethoven In his later years, LvB returned to his study of early music, further mastering the hybrid of eras he had created Influence of early music in Symphony No. 9 – chorus, vertical harmony evident http://www.youtube.com/watch?v=sE-sS_1JQZI Experimentation with form is obvious Addition of choir to Symphony No. 9; extra movements added or removed from compositions Even further emotional intensity in works

12. Beethoven’s Musical Periods

13. Form in Romantic Music Traditional forms still popular Symphony, opera, concerto, sonata, string quartet New forms embraced: lieder, tone poem, symphonic poem, suite, concert overture, song cycle. Composers manipulating, adding to and taking away from traditional form to serve their purposes

14. Lieder German art song explodes on to scene Schubert (over 600 lieder!), Schumann, Brahms, Strauss, Wolf. Themes of love, nature, death, sadness, disillusionment. Two forms: strophic or through-composed Piano as a partner, not an accompaniment, to voice

15. Gretchen am Spinnerade Setting of Goethe’s Faust: Gretchen sits at her spinning wheel contemplating her feelings for Faust. “My peace of mind has fled My heart is heavy I will never find peace, never again...” http://www.youtube.com/watch?v=MY0eeotSDi8

16. Program Music Idea of music having a theme, story or idea behind it becoming increasingly popular Beethoven’s themed symphonies: No. 3 (Eroica); No. 5 (War); No. 6 (Pastoral) Berlioz’ SymphonieFantastique Liszt and l’idee fixe

17. Rise of the virtuoso Music lessons becoming more accessible  stronger players Pianists, violinists and flautists most commonly showcased In many cases, prominent composers were also technically gifted musicians because they were the only ones capable of playing their own music Virtuoso concerts

18. Rise of the conductor The conductor now a full-fledged performer: equally as celebrated and respected as the musical ensemble Some composers conducting their own works: Beethoven, Liszt, Boulez Conductor a necessity as ensemble and scope of dynamics, contrast and expression grow simultaneously

19. The Industrial Revolution Improvement in the mechanics and quality of instruments Advent of the printing press  sheet music available to anyone who wanted it Aristocracy no longer the sole patron of music Musical instruments more readily available to the masses as a result of the revolution and of the rise of the middle class As a result, musical ensembles grew drastically in size and became of a higher and higher calibre