The document discusses the Romantic era in the 19th century. It describes the political and social environment of the time period, including the rise of democracies and cultural centers across Europe. Musicians gained more independence and respect during this era. Composers expressed more individualism and emotion in their compositions. Characteristics of Romantic music included evocative titles, a focus on expressing emotions, and the growing use of program music.

1. The Romantic Era
The Nineteenth
Century
01/07/13 1

2. Political and Social Events
of the Times
 Monarchies had given way to more and more
democracies.
 Many countries which retained their monarchies
also had democratic elements in their
governments (e.g., Great Britain).
 Lively cultural centers arose in Paris, Vienna,
Prague, Budapest, Leipzig, Dresden,
Amsterdam, and London, where artists,
musicians, philosophers, and others gathered.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

3. The Nineteenth Century
 Composers’ status rose tremendously as they
were no longer employees of royalty and the
aristocracy.
 Performers received enormous fees.
 Pianos and other instruments became
widespread.
 Many middle-class homes had their own pianos.
 Demand for compositions for amateurs grew.
 Music became a political force, calling for
freedom, equality, and rights to assemble and
associate with whomever people chose.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

4. Musicians
 Musicians were self-sustaining.
 Sources of income were published music, public
concerts, commissions.
 Public concert associations, ballet companies,
symphony societies, and opera companies were
formed all over Europe and the United States.
 London Philharmonic Society, Paris Societe des
Concerts du Conservatoire, New York
Philharmonic, etc.
 They became highly respected members of society.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

5. The Romantic Era
 A time of fascination with imagination, individual
emotion--called “Romanticism”
 Intellect and art still important; dreams became
important too.
 Music--composers were freed from conventional
styles and forms to compose in their own voices.
 Orchestras were bigger; timbres, more diverse.
 Program music became more important.
 Range of musical elements--melody, rhythm,
harmony, dynamics, timbre, texture, and form
grew tremendously during this period.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

6. Romantic Composers & Their
Public
 Composers wrote to fulfill inner need, rather than
by commission
 Wanted to be judged by posterity
 Musicians wrote for middle-class; now increased
in size
 Industrial revolution
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

7. Romantic Composers & Their Public
 Founding of music conservatories in U.S.-Chicago,
Cleveland, Boston
 More young men & women studying to become
professional musicians
 Virtuosity-Franz Liszt, Niccolo Paganini, Clara Wieck
Schumann
 Romantic composers came from their own social
class audience, needed family support for careers
 Few able to support selves through composition
alone: sell music to publishers, touring, teaching,
music critics, some lucky enough to have patrons
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

8. Romantic Composers
 Beethoven & Wagner-prolific
 U.S. composers-Stephen Foster, Henry Gilbert,
 Schubert-symphonies, art song
 Chopin-keyboard music only
 Verdi-Italian opera
 Rossini-Italian opera
 Tchaikovsky-ballet
 R. Strauss-Tone poem
 Sibelius, Brahms, Mendelssohn, Mahler, Liszt,
Mussorgsky, Franck, Berlioz
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

9. Romantic Subjects for
Artistic Works
 Nature  Travel, distant lands,
 Beauty exotic cultures
 Love  Drug-induced states
 Death  The brotherhood of
 The supernatural man
 The individual and the
 The mystical,
magical, and common man
mysterious  The superman and
hero
 Adventure
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

10.  Romanticism should
be:
 Subjective and
emotional
 Translating human
soul into music
 Sorrow, passion,
tenderness,
exuberance, despair
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

11. Characteristics of Romantic Music
 Individuality of Style
 Self-expression, “echo of
innermost feeling”-
Tchaikovsky
 Highly emotional music
 Unique
 Reflects personality of
composer
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

12. Characteristics of Romantic Music
 Evocative Titles for Musical Works:
musicians gave their works titles which
depicted Romantic themes or subjects (e.g.,
love, nature, adventure)
 Emotional Music: Romantic music
attempted to express the gamut of human
emotions through the musical elements:
increased length of compositions, larger
orchestras
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

13. Characteristics of Romantic Music
 Program Music: music written to tell a
story or describe something
 Sometimes the composer included a story,
called a “program.”
 The composer told the story or described
something through the elements of music.
 Musical sounds imitate non-musical
situations
 “Union of the Arts”
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

14. Characteristics of Romantic Music
 Rhythm: changing tempos within sections;
rubato common; more complex meters and
rhythms
 Melody: long, flowing, emotional melodies;
some short themes to express specific ideas
or people; major and minor tonalities with
chromaticism (using notes not in scale);
instrumental melodies with wide leaps: not
easy to grasp or sing
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

15. Characteristics of Romantic Music
 Harmony: key centered (tonal), but many
changes of key (modulations) and much
chromaticism; harmonies complex and
not easy to follow
 Dynamic Expression: extremes of
dynamics used (ppp to fff); crescendo
and decrescendo used extensively
 Texture: mainly homophonic with some
polyphony
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By Mark Evan Bonds PRENTICE HALL
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Upper Saddle River, NJ 07458

16. Characteristics of Romantic Music
 Forms
 Continued use of classical genres and forms:
symphony (often with titles), solo concerto.
opera
 New small piano forms (nocturne, ballade,
étude, waltz, mazurka)
 New orchestral forms: ballet, symphonic tone
poem, concert overture
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

17. Form: Miniature & Monumental
 Age of contradictions
 Movements longer(Symphonies-45 minutes)
 New techniques-more use of theme throughout
symphony
 Thematic transformation-ex. Lyrical melody
becomes grotesque dance tune
 One movement goes directly into next
 Generalizations of period difficult-great diversity
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

18. Performance Media
 Larger concert halls & opera houses
 More emphasis on horn & percussion sections
 More woodwind instruments
 Addition of other percussion
 Greater instrumental flexibility
 More use of upper & lower registers
 Higher level of virtuosity
 New ways of blending & combining tone colors for
intense sound
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

19. Nationalism
 Nationalism--pride in country became important; the
nation as a central social identity rose to prominence.
 Groups were united by language and culture.
 Composers created music to reflect their national
pride, often using folk music of their countries as the
basis for compositions.
 Transportation changed.
 Railroads and steamships made long distance
travel feasible.
 Communication expanded--telephone and
telegraph invented.
 Populations grew.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

20. Outstanding Composers of
the Early Romantic Period
 Hector Berlioz:  Frédéric Chopin:
orchestration short piano works
 Franz Schubert: art  Franz Liszt: piano
songs virtuoso
 Robert Schumann:  Felix Mendelssohn:
piano works conductor, promoter,
 Clara Schumann: a and composer
concert pianist and  Fanny
composer Mendelssohn:
pianist and composer
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

21. The Romantic Art Song
 A poem set to  Singer and piano
music
equally important
 Typical subjects:
love, nature,
 Piano: introduction
beauty, death, and and ending section
heroism  Melodies heard in
 Performed in small both parts in a
gatherings in musical dialogue
people’s homes;  Poetry and music
later performed in both high art
concert halls
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

22. The Art Song
 Many composers set poems
in native language
 Favored poets: Goethe,
Heine
 German art song: Lied
 Art song-filled with unrequited
love, beauty of nature,
supernatural folk tales,
reaching out of the soul
 Translation of mood &
imagery into music; mood set
by introduction & postlude
(end of piece)
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

23. Forms of Art Songs
 Strophic and Modified Strophic: Several
verses of poetry with the same (or basically
the same) music (e.g., The Trout)
 Through-composed: Music does not
repeat itself in a a specific pattern as the
poem unfolds (e.g., The Erlking)
 Song Cycles: groups of songs that tell a
story or reflect on nature, beauty (e.g.,
Winterreise)
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

24. Chapter 27: Franz
Schubert “Erlkönig”
 A drama set to music;
characters
 Sung by Narrator
 Father
 Child
 The Erlking (death)
 Only one performer with
piano accompaniment
 Text is a poem by Wolfgang
Goethe--a ballad--poem
that tells a story.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

25. The Erlking: The Story
 Father is riding horse at  Child asks Father if he
night with his Child. can see The Erlking.
 Child is afraid; he sees  Father says he can only
the Erlking (Death). see Willow Trees.
 Father reassures Child
 Child resists, but The
as they ride. Erlking takes him by
force.
 Erlking entices the Child  When Father arrives
to come with Him. home, his Child is dead!
 Child expresses fear
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

26. Franz Schubert “Erlkönig”
 Word-Music Relationships--song fits the content,
meter, and rhyme scheme of the poem.
 Rhythm--repetitive rhythmic figure in the
accompaniment represents the horse.
 Register--three characters and the narrator each have
a particular register of the singer’s voice.
 Dynamics--reflect the story; father is always loud; child
is soft then loud; Erlking is softer and softer until very
loud at end.
 Harmony--key of g minor; shifts to major when the
Erlking “speaks”--provides harmonic variety to the
song.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

27. Franz Schubert (1797 - 1828)
 A prolific composer of German lieder (art
songs)
 His songs involve texts from some of the
greatest writers of his day.
 Other works:
 9 symphonies, many piano sonatas,
chamber music
 “The Trout”--a song and a piano quintet
 Symphony no. 8--”Unfinished”
 “Death and the Maiden”--a song and a string
quartet
 “Serenade”--a song and a piano piece
 7 masses
 Over 600 art songs
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

28. Franz Schubert at the Piano
by W. A. Rieder
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

29. Franz Schubert (1779-1828)
 Born in Vienna; member of Vienna Boy’s Choir
 Son of school master
 Pianist and violinist
 Wrote Gretchen am Spinnrade at 17
 Started out as a teacher, but quit to compose at 21.
 Income came entirely from composition
 Usually lived with friends, did not mingle with upper class
 Contracted syphilis at 25, moody & prone to despair
 Like Mozart, he died at a young age (31), after 5 years of
illness.
 Applied to musical positions but not accepted
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

30. Franz Schubert
 Die Forelle(The
Trout)
 1817
 Text by Christian
Daniel Schubart
 Trout caught by
fisherman
 Also as string
quartet
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

31. Clara and Robert Schumann
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

32. Robert Schumann (1810-1856)
 Born in Zwickau, Germany; went to study law at Leipzig
University, but skipped class!!
 Studied piano with Friedrich Wieck; married his daughter,
Clara: a concert pianist.
 Contracted syphilis, which ruined his hands and ended his
concert piano career.
 Founded The New Journal for Music: served as editor and
music critic- set up with partners in 1834.
 One of first to praise Berlioz’ Symphonie fantastique and to
recognize both Chopin and Brahms as compositional
geniuses
 Developed depression and hallucinations (from syphilis?);
died in asylum at age 46.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

33. Robert Schumann
 Through writing & criticism, championed
Chopin, Schubert, Brahms
 Wrote with pseudonyms
 Wrote virtually all piano works before age
of 30 in 1840
 4 symphonies with experimental aspects-
large brass section, high level of
chromaticism; cyclic devices; sonata-
allegro form with no development
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

34. Robert Schumann(1810-1856)
 Schizophrenic,
“gloriously mad”
 Attempted
suicide by
jumping into
Rhine in 1854,
rescued
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

35. Robert Schumann
“Dedication”
 “Widmung” = “Dedication”
 Written in 1840, the year he married Clara
Wieck (they eloped)
 A love poem set to music
 An example of a German lied
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

36. Robert Schumann
“Dedication”
 Form = ternary
 A B A’
 A’ means that the first section is repeated after the
contrasting section, but slightly differently
 Both the melody and the rhythm create the
contrast between the A and B sections; harmony
contributes to the contrast as well
 Harmony
 A = key of A-flat
 B = key of E--NOT a closely related key;
A-flat has 4 flats; E has 4 sharps.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

37. Robert Schumann
 Character pieces
 Carnaval-Opus 9 from Piano Solo
 “Little Scenes on Four Notes”
 Collections of personalities
 Written during Carnaval season of 1835(Mardi Gras)
 Chiarina-for Clara Weick
 Chopin- “nocturne”
 Estrella-fiancee Ernestine von Fricken
 Reconaissance-reunion
 Certain movements named for clowns of Commedia
del arte(Italian theater)
 Papillons-butterflies
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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38. Robert Schumann
Other Compositions
 Dichterliebe (Poet’s Love)--a song cycle
 Kreisleriana--a cycle of solo piano works
 Piano Concerto in A Minor
 Symphony no. 3 (“Rhenish”)
 Over 275 art songs
 Chamber music
 Symphony No. 1
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

39. Clara Wieck Schumann
(1819 - 1896)
 Studied piano at age 5
 Gave first full piano recital at age 9
 Toured Europe as child prodigy
 Published music as teenager, rare
 Her father, Friedrich Wieck, opposed her
marrying a musician, but she eloped and married
Robert Schumann anyway at age 21
 8 children, one dying in infancy.
 She was one of the great piano virtuosos of her
generation.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

40. Clara Wieck Schumann
(1819-1896)
 Premiered Robert’s works and those of
Brahms(came to live with Schumanns in 1853)
 Continued to perform after marriage and widowhood,
but few compositions were published after that.
 Had long relationship with Johannes Brahms.
 Widowed in her mid-30’s, Clara pursued a highly
successful career as a soloist (piano) and teacher.
 Taught at Leipzig Conservatory of Music and Hoch
Conservatory in Frankfurt.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

41. Clara Wieck Schumann--
by Dagli Orti
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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42. Clara Wieck Schumann
Other Compositions
 Piano Concerto in A Minor
 Three Songs on Texts by Rückert
 Variations on a Theme by Robert
Schumann--for piano
 Piano Trio in G Minor
 Three Romances--for piano
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

43. Program Music & Symphonic Works
 After Beethoven, two courses were established:
 An attempt at sustaining the traditional concept of the
symphony as established by the Viennese Classicists
 Mendelssohn, Schumann, Brahms
 Venturing into the experimental in expressiveness and
expansion as modeled after Beethoven’s 6th(Pastoral)
and 9th(Choral)
 Berlioz, Liszt, Mahler
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

44. Program Music
 Berlioz & Liszt
 Abandoned four
movement form
 Theme transformation
 Colorful and expressive
orchestral resources
 Many changes in tempo
& dynamics
 Melodic & harmonic
chromaticism
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

45. Program Music
 Symphonic poem-An orchestral form in which a
poem or program provides a narrative or
illustrative basis
 One movement
 Flourished in 1840’s to 1920’s
 Satisfied three aspirations of 19th century
 To relate music to the outside world
 To integrate multi-movement form
 To elevate instrumental music to a higher level than
that of vocal music
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

46. Program Music
 Overtures became independent of their theatrical
origin
 Achieve programmatic status
 “Incidental Music”
 Overture-direct prototype for Liszt’s conception
of a one-movement symphonic poem
 His view was to refrain from narrative & literal
depiction, theme transformation
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

47. Chapter 29: Hector Berlioz
Symphonie fantastique, 4th movement
 A 5-movement composition with a written
program written by Berlioz himself
 The story--an artist’s dream that moves
from blissful reverie (1st movement) to
nightmare (movements 4 and 5).
 Dream is about lover and her eventual
rejection of him.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

48. Symphonie fantastique
 Written during Prix de Rome year
 A young musician of morbid
sensibility and ardent imagination in
a fit of lovesick despair has
poisoned himself with opium. The
drug, to weak to kill, plunges him
into a heavy sleep accompanied by
strange visions. The sensations,
feelings, and memories are
translated in his sick brain into
musical images and ideas. The
beloved one herself becomes for
him a melody, a recurrent theme
that haunts him everywhere.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

49. Hector Berlioz
Symphonie fantastique
 1st Movement--“Dreams--Passions”--artist thinks
about beloved
 2nd Movement--“A Ball”--artist sees lover at a
dance
 3rd Movement--“Scene in the Countryside”--artist
dreams he is in the country but then thinks about
his lover’s betraying him
 4th Movement-- “March to the Scaffold”--artist’s
execution for killing lover
 5th Movement-- “Dream of a Witches’ Sabbath”--
ghosts and monsters gather for his funeral
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

50. Hector Berlioz Symphonie
fantastique, 4th movement
 Timbre--composed for a huge orchestra
 Berlioz--widely acknowledged as the first
great master of orchestration--the art of
arranging music for instruments
 Symphony includes novel and spectacular
orchestral effects.
 Combining timbres of individual instruments and
groups of instruments to create sounds that had
never been heard before
 Exploiting the range of the instruments and the
types of melodies that could best be played by
them
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

51. Program Music: Berlioz’
Symphonie Fantastique
 He also asked string players to hit strings
with the back of the bow (“col legno
battuta”) to imitate skeletons.
 He wrote a detailed program.
 The 5th movement includes another famous
melody: the Dies Irae (Day of Wrath) from
the Requiem Mass for the Dead.
 Berlioz “transformed” the melody: i.e., he
varied it for effect, but it was recognizable.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

52. Hector Berlioz Symphonie
fantastique, 4th movement
 Idée fixe--a melody (represents the beloved) whose
form changes from movement to movement but
which appears at some point in all five movements,
transformed to fit the emotion of the moment
 Form of 4th movement:
 Introduction A/B/A/B/A/ Coda (two contrasting
sections framed with an Introduction and a Coda
 A theme - “gloomy and ferocious”
 B theme - “solemn and brilliant”
 Idée fixe is heard just prior to the fall of the
guillotine blade (artist thinks of lover before dying)
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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53. Hector Berlioz (1803 - 1869)
 Born near Lyon, France, Grenoble
 Berlioz’ father wanted him to be a doctor; he went to medical school in
Paris, but dropped out.
 Started serious music study at age 19.
 Studied in Rome(Prix de Rome) and returned to Paris to compose.
 Studied at the National Conservatory of Music in Paris.
 Wrote music criticism to support himself during his studies.
 Studied instrumental effects and learned how they produced sounds.
 Wrote an important book on orchestration (how to use the instruments
of the orchestra to produce the desired sounds): Treatise on
Instrumentation.
 Friends with Eugene Delacroix, Victor Hugo
 This composition is written about Berlioz’s obsessive love for Harriet
Smithson. Another composition, “The Return to Life” is believed to be a
marriage proposal to her.
Listen to This 5-53
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

54. Hector Berlioz(1803-1869)
 Obsessed with
actress Harriet
Smithson
 “Smithson &
Berlioz will be
reunited in the
oblivion of the
tomb”
 Married Harriet
despite
objection, left
after nine years
to live with
Italian opera
singer
Listen to This 5-54
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

55. A Caricature of Hector Berlioz
Note the Exaggerated Hair
Listen to This 5-55
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

56. Hector Berlioz
Other Compositions
 Harold in Italy--a symphony
 Romeo and Juliet--a symphony
 Requiem--a Mass for the Dead
 “L’enfance du Christ” (The Infancy of Christ)--an
oratorio
 Te Deum
 The Trojans-opera
 Grande symphonie funèbre et triomphale
Listen to This 5-56
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

57. Felix Mendelssohn (1809-1847)
 Born in Hamburg, Germany into a prominent family notable for
its expertise in the areas of philosophy and finance..
 Child prodigy; studied piano, and began composing at a very
early age.
 Wrote 6 symphonies by age 12, 7 more by age 14, and an
overture by age 21.
 Father tried to add “Bartholdy” to family name to avoid anti-
Semitism (sometimes this name is added to his).
 A cosmopolitan composer who spoke English, French, and
Italian; able to read both Greek and Latin easily.
 Conducted a revival of Bach’s St. Matthew Passion.
 Composed the famous “Wedding March.”
Listen to This 5-57
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

58. Felix Mendelssohn (1809-1847)
 Became conductor of Gewandhaus Orchestra
in Leipzig.
 Orchestra performed music of many
contemporary composers.
 Pushed his orchestra to perform at high
level.
 Founded Leipzig Conservatory, one of
Europe’s finest music schools.
 Died shortly after his older sister, at age 37.
Listen to This 5-58
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

59. Felix Mendelssohn: An
Early Promoter and
Producer
 As conductor of the Leipzig Orchestra
 Doubled musicians’ salaries from own
pocket; established pension plan for them.
 Assembled programs of music from both
contemporary and earlier composers.
 Actively promoted music of his
contemporaries: e.g., Schubert,
Schumann, Berlioz, Brahms, and Chopin.
Listen to This 5-59
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

60. Mendelssohn on a Trip to
London, by James W. Childe
Listen to This 5-60
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

61. Fanny Mendelssohn (1809-1847)
 Felix Mendelssohn’s older sister; married
Wilhelm Hensel.
 A fine pianist and composer, but her music
remained unpublished.
 Some speculate that some music attributed to
her brother may have been composed by her.
 Also performed music by of other composers.
 Died on stage during a rehearsal.
Listen to This 5-61
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

62. Romantic Piano Music
 Pianos had greatly improved by the time of
the Romantic Period.
 Better sound, loud enough to fill public concert
halls
 Better mechanical systems, responsive to virtuoso
playing
 The Public loved virtuoso performers.
 Private concerts for selected guests were
performed in salons.
Listen to This 5-62
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

63. The Piano
 Cast-iron frame
allowed for
greater string
tension
 Hammers
covered with felt
 Range extended
 Damper pedal
added
Listen to This 5-63
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

64. Romantic Piano Music
 Pianos became popular in the home;
composers wrote and publishers produced
music for the non-virtuoso player.
 Especially among the middle class and the
wealthy, learning to play piano was
considered part of a good education.
 This demand for all-level works was lucrative
for composers and publishers.
Listen to This 5-64
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

65. Salon (Intimate) Piano Music:
Miniatures (2-5 mins.)
 Ballades  Nocturnes
 Capriccios  Polonaises
 Consolations  Preludes
 Etudes (studies)  Rhapsodies
 Fantasies  Scherzos
 Impromptus  Songs Without
 Mazurkas Words
 Waltzes
Listen to This 5-65
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

66. Frédéric Chopin (1809 - 1848)
 Born near Warsaw, Poland; gave first piano recital at age 8;
studied piano at Warsaw Conservatory.
 Father was French and mother was Polish--never felt at home
in either place.
 Russia annexed most of Poland, which awakened his
nationalism--as manifested in his polonaises and mazurkas.
 Made a living in Paris from teaching and sales of his music for
piano.
 Had a long relationship with Amandine Lucile Aurore
Dudevant (George Sand).
 Died of tuberculosis, age 39.
 Most of his works are for piano.
Listen to This 5-66
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

67. Frederick Chopin(1810-1849)
 Wrote exclusively for piano,
“the poet of the piano”
 First imaginative use of
pedal & rubato(performer
deviates slightly from exact
execution of rhythm)
Listen to This 5-67
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

68. A Daguerreotype of
Chopin
Listen to This 5-68
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

69. Other Virtuoso Artists of
the 19th Century
 Franz Liszt--piano; created the public
piano recital
 Very famous piece--Hungarian Rhapsody
#2
 Nicolo Paganini--violin
 Very famous pieces--Caprices, and Violin
Concerto #2 in B Minor
Listen to This 5-69
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

70. Franz Liszt (1811-1886)
 Born near Sopron (in
Austria-Hungary).
 Studied piano in Vienna;
piano concert debut in
London at age 11.
 Considered greatest
piano virtuoso of 19th
century.
 Lived in Paris from age
16 to age 38, touring
throughout Europe.
Listen to This 5-70
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

71. Franz Liszt (1811-1886)
 Became music director to Grand Duke of
Weimar.
 Story has it, he changed position of piano
on stage (from back to audience to
sideways) and threw away the music!
 Ever since, tradition has dictated that
pianists play concert music from memory.
Listen to This 5-71
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

72. Franz Liszt (1811-1886)
 Some famous works
 Orchestra: Faust Symphony, Dante
Symphony, Les Préludes, Piano
Concertos No. 1 and No. 2
 Piano Music: Sonata in b minor, Six
Consolations, Transcendental Studies,
Hungarian Rhapsodies, and many short
piano pieces
Listen to This 5-72
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458