1. The Romantic Period-1820-1900
- Personal expression- stressed
emotion, imagination, and individualism
-passionate, stormy feelings
-�Realm of fantasy�- (unconscious, irrational, world of dreams) appealed to many
artists -emphasis on self expression and individuality
-love was strongly sought after in songs (popular topic): usually, lovers are
unhappy and face overwhelming obstacles (ex- Shakespeare�s plays)
-Nationalism- composers wrote songs
representing their own national identity
-
-Range of pitch also expanded- very high and low sounds (because of this, new
instruments were made such as the piccolo and contrabassoon) going from PPP to
FFF
-Length of compositions-
widely varied
-short songs played by single instruments lasting 1 or 2 minutes (ex- Chopin)
-extremely long songs lasting hours played by huge number of performers
-Melodies- more expressive, lyrical
-Harmony- more colorful, unstable
chords
-Tempo- fluctuations, use of
rubato
-New Forms-
miniative and menu
-Texture- homophonic
-
2. Felix Mendelssohn- (1809-1847)
Biography-
Dark eyes, intelligent, slim, Jewish, beloved by all who knew him
Hometown
Family:
Father was a wealthy banker in
Cherubini-
Parents got him best possible teachers for him who claimed he was very
gifted; Mendelssohn�s father wanted to see how gifted he really was to took
him to see Luigi Cherubini
(musical head in
�Der Freischutz�:
as a child Mendelssohn heard this opera which was filled with realistic
effects, brought life to German
forest, had strange mysterious music- mostly it evoked in the listener
Romantic images- set Mendelssohn dreaming of his future music
House:
Mendelssohn�s father built a big mansion with a music room surrounded by
gardens- hosted many Sunday afternoon musicales on gardens- here Mendelssohn
(17 years old) wrote �Midsummer Night�s Dream� which
served as overture for one of Shakespeare�s
plays (big hit)
Musical characteristic-
As in Midsummer Night�s Dream,
Mendelssohn used another world, fairylike qualities in his music � all his
music had sweetness, delicacy, and a
refinement of good taste- composed
Violin Concerto in E minor in same qualities
Travel:
Mendelssohn was constantly on the road-often traveled to
Moses Mendelssohn (Felix�s grandfather)-
forced to live in
Jewish ghetto, suffered anti-Semitism-
succeeded to make himself respected member of society. Felix Mendelssohn was
very proud of him and even though he was brought up as a Christian and
married a Protestant, he never forgot he was Jewish and as a result wrote
the oratorio
Elijah showing greatness of Jews
Leipzig-
musical center of Germany- Mendelssohn went there to be conductor of the
Gewandhaus orchestra- became a great success- instead of playing the piano
or violin as orchestra leaders did before him, he stood up to conduct- 2
years later he founded
the
Conservatory of Music�became the
most famous school in all Europe
Johann Sebastian Bach-
forgotten and neglected until his time- Mendelssohn first discovered him
when he was 12 when he found an autographed copy of
St. Matthew Passion in a dusty heap of old manuscripts belonging to
one of his teachers- his mother had music copied and gave it to him as a
birthday present. In
Bringing back Bach-
They did so well that the leader of the Berlin Singakademie turned over his
chorus to them and they began to rehearse Bach�s St. Matthew Passion- they
sold out for their performance and Mendelssohn (22) was a big hit-
thanks to Mendelssohn, Bach was reintroduced to the world after being
forgotten for over 100 years
Critics-
not among the greatest European Musicians, but his music is sentimental- say
that his life was too happy to give music depth and never achieved anything
than his first hit Midsummer Night�s Dream
Definitions-
1. Concerto- a soloist + the
orchestra
2. Cadenza- part of a movement of
concerto where the soloist plays alone (orchestra stops playing) � the only time
when a soloist can improvise and show his mastery and virtuoso
3. Incidental Music- instrumental,
not vocal music, intended to be performs before or during a play (or 20th
century movie) � background music, sets the mood, highlights drama,
4. Overture- short piece of music
before the body of the piece begins (plays the Theme!)
5. Music Score- music written for
specific orchestra or movie- until 1800s no background music
6. Coda- ending based on theme A
7. Etude- music guideline- helps you
learn the music
3. Frederic Francois Chopin- (1810- 1849)
�The poet of the piano�
One of the greatest classical pianists-
from Romantic period (classical music)
Early years-
born March 1, 1810 in Zelazowa Wola
Poland- even before he was
6 Chopin loved music- very intrigued by
sounds when his mother played piano- he began to play and his parents got
him a piano teacher (age 7) (teacher made him do performances in first 2
years of lessons)
Dual citizenship-
born in
Famous musicians studied-
Adalbert Zwyny, and through him he learned to admire
Bach and Mozart-
he enjoyed making up his own music and hated
monotonous
scales- found music theory very boring
First Pieces-
in first year of lessons composed and published
short polonaise (slow dance in �
time with qualities of a march)- same year composed a military march-
at age 8 he had his first major concert-
NEVER
IMITATED OTHER PIANISTS- very
original- had stage fright
Paris-
studied in
Warsaw Conservatory for 3 years-
then at age 20, left Poland to study in
Paris
(worlds intellectual, artistic headquarters- piano performances)- Chopin
mingled with high status people in society (princes, ambassadors) � few
close friends yet knew and was respected by everyone- first concert in Paris
1882- big success
Piano teacher-
through popularity and skill, established himself as piano teacher- many
students- became very rich (charged 30 francs[nickel] a lesson) � taught
exercises of Clementi and Bach- advanced students received exclusive Chopin
methods � made them practice at least
3 hours a day in order to learn properly-
taught them his pedaling, fingering, and rhythm methods
Work- Some composers came close to duplicating
Chopin�s technical manner but few had Chopin�s tonal quality.
Chopin worked slowly, precisely, always refining music
-first to use all 5 fingers to play instead of 4
Last Years-
age 22 became ill with tuberculosis, which was incurable(spit blood, cough)
lungs were then damaged by bad bronchitis- gave no concerts between Feb.
1842 and Feb. 1848- gave his final memorable performance in Paris � near
death he could no longer compose music or play piano; became weak and
depressed- died at age 39 on October 17, 1849
Funeral-
Mozart�s requiem was sung and the
funeral march written by Chopin
was played
Definitions-
1. Rubato-
slight holding back or pressing forward of tempo to show changes in mood, or
intensity of expression
2. Nocturne-
a piece; a slow, lyrical intimate composition for a piano
3. Waltz-
a dance in triple meter, smooth, flowing
4. Mazurka-
a dance in triple meter, faster than a waltz- jumpier
5. Polonaise-
a dance in triple meter which originated as a stately procession for the Polish
nobility
4. Franz Schubert- (1797-1828
Time Period:
past century=rationalistic, versed in logic, math, science- now people went
against these things and emotions �broke through barriers�- whatever was
beautiful and strange was sought after- people began to listen to nature,
read old tales and forgotten legends. Kings and Princes were no longer
admired- rather geniuses and heroes (Napoleon considered greatest of them
all) - talked of death (Poet Goethe
wrote �him alone will I praise who living aspires to die by the fire�) -
Musicians soon followed these poets- Beethoven was first with his powerful
music.
Schubert-
had Classical and Romantic-�bridged� the two- short, fat stumpy and
nicknamed �the
little Mushroom�
Hometown-
Vienna-
father was school master, mother was a cook
Musical Education-
Schubert�s father made sure he had the best musical education and sent him
to the Viennese School for Imperial Choristers (aka Convict)- at first
people made fun of him but soon admired him for his superb voice- made
friends- as a farewell to the school he wrote his First Symphony in D Major
with last line �finnis et fine�
Very Poor-
He tried teaching in his fathers school but he wanted to write music more
than anything- hated teaching- very poor and publishers barely gave him
money (only one public concert in honor of Beethoven�s death at end of his
life which paid well but soon spent all of the money on friends)- friends
paid for him to remain in Vienna
Compositions-
always composing- didn�t take off his glasses at night b/c he didn�t want to
have to look for them in the morning- his friends convinced him to write an
opera- Des Teufels Lustschloss but
it wasn�t a success- he wrote many more songs which were dramatic but
Schubert�s problem was that he didn�t have a sense of theater- Next year he
wrote 3 more operas, 4 sonatas, 2 masses and 146 songs
Der Erlkonig-
In 1815 Schubert found Goethe�s
poem Der Erlkonig which tells the story of a father riding through the
forest with a sick baby and how they pursued the demon spirit. The boy has
visions of the legendary Erlkonig who symbolizes death Schubert was
fascinated by this strange and haunted poem and began writing words and
notes to form his first lied or
art song- with its words, melody and accompaniment it was a big success this
motivated him to compose more (church music, operas, & cantatas�)
Improving life-
fortunes improved- many of his friends published his works through singing,
playing or organizing parties for him called �schubertiaden-� he soon was
able to travel to Austria a wrote a very successful piece called the Trout
Quintet- he became very proud and sent 3 pieces to Goethe (who never
acknowledged them)- didn�t have to work very hard on his pieces(came easily
to him)- met with Beethoven but couldn�t converse with him because Beethoven
was deaf
Four Handed Pieces-
like the sociability of 2 people sitting next to each other as they
performed (never appealed to Beethoven)- wrote
the Unfinished Symphony this way
-wrote songs that �transformed the keys into singing Voices�- some
songs such as his sonatas require a mastered pianist (wanderer fantasy)
The Unfinished Symphony-
first romantic orchestral work- called unfinished because only has 2
movements- was put away in a draw and never heard for 43 years
Mood-
dreaminess, yearning for some happiness that never domes- also capable
of writing quick stepping sparkling music such as after Napoleonic times
began combining many pieces of poems to form lieder(plural of lied), added
in lines from Shakespeare
Accompaniment-
up to that time the harpsichord and piano accompaniment had little
importance in relation to the vocals of the song- Schubert gave the piano
equal status to the voice- his accompaniments became equal partners for the
singer and in a sense summed up the
story of the song in the concluding epilogues.
Older years-
became sadder, usually hungry and poor, became ill, rejected, his mood
reflected in his songs- died in 1828 at age of 32 while corrected a song
(Die Winterreise- journey towards death of a heartbroken man)- after his
death, his songs disappeared from the world- father and brother kept
manuscripts hidden for they were modest and didn�t know what a musical
genius he was-
Later popularity-
a friend named Schumann came to Vienna to visit the Schuberts- he admired
Schubert�s work and when he found the great manuscripts he took them back to
Leipzig where they were performed in the Gewandhaus with his friend Felix
Mendelssohn conducting
Definitions-
1. lied-
romantic art song filled with beauty with German text for solo voice with piano
accompaniment (galloping horse?)
2. Strophic form-
same music for each stage
3.
Prelude- brief piano section that introduces the mood of the song
4. interlude-
piano section between stanzas
5. postlude-
piano section like an epilogue
Comparison of 3 composers�
Mendelssohn- wrote music in all forms except operas
Schubert- wrote music in all forms except concertos (over 600 songs)
Chopin- wrote exclusively for piano
Schubert- primary source of income was from his pieces
Chopin- primary source of income came from teaching
Chopin- never married; George Sand was pseudonym for his girlfriend�author
5. Program Music
1. Program Music-
instrumental music (not Vocal) associated with a story, event idea, or scene.
There is a descriptive title and program- the composer�s explanatory comments.
Program Symphony-
a symphony with a program and has 4-5 movements. There is a descriptive
title and sometimes a subtitle
EX- Symphony Fantastique- by: Berlioz
Romeo and Juliet- by: Berlioz **note- there are two songs called
Romeo and Juliet,
the other is further down by Tchaikovsky
Concert Overture-one
movement instrumental composition based on a story, usually written in
sonata allegro form
EX-
Romeo and Juliet by Tchaikovsky
Romeo and Juliet the Soundtrack
Incidental Music-
instrumental, not vocal music, intended to be performs before or during a
play (or 20th century movie) � background music, sets the mood,
highlights drama
EX-
Wedding March (Midsummer�s nights dream) - Mendelssohn
Symphonic Poem-
a one movement composition associated with a story, poem, idea or scene,
written in irregular form
EX- Paul Dukas �The Sorcerer�s Apprentice�
Rimsky-Korsakov- �Scheherazade�
2. Absolute music-
non program music written for its own sake and not intended to tell a story
-orchestra made up of 100 people
6. Hector Berloiz-
-
loved Shakespeare
-fell in love with an actress (unrequited love) and wrote an award winning
symphony for her. She fell and became crippled- they got married- unhappy
marriage
1. Program symphony �
see above
2. Id�e fixe-
a recurrent melody that represents Belioz�s beloved throughout the
symphony-unifies the symphony
EX- Hector Berloiz wrote Symphonie Fantastique:
(5 movements) Program Symphony
1. Berloiz falls in love with a woman, everywhere he goes, her face appears to
him, he dreams about her at a ball.
2. Even in quiet countryside, he can�t stop thinking about her, fearing she is
deceiving him
3. Tries to kill himself by taking Opium, dreams he has murders her and is
watching his own execution
4. In his dream, ghosts, sorcerers and monsters joined by his beloved surround
him for the funeral
7. Nationalism in 19th Century
1. Nationalism-
in music it is a deliberate intent to draw inspiration from a composer�s own
homeland. Nationalism was a revolutionary movement which influenced romantic
composers. They used folk songs and dancers, legends, poetry, and their own
language in operas (not just Italian)
EX- Tchaikovsky: 1812 Overture, Symphony #4, 4 movements
2. Exoticism-
drawing creative inspiration from cultures of lands foreign to the composer
EX- Rimsky-Korsakov- �Scheherazade�
8. Peter Illyich Tchaikovsky
1. Concert Overture-see
above
2. Symphonic Poem-
see above
9. Giuseppe Verdi-
-Verdi composed not for the musical elite but for a mass public whose main
entertainment was opera. He composed passionate pieces almost all ending
tragically. He is known for the expressive vocal melodies in his operas.
Verdi composed Rigoletto when he was 37. It was his 16th opera
and was a big success. Unlike past pieces, here he translated human emotion and
passion into beautiful melodies. It is Verdi�s earliest work in the standard
repertoire, along with La Traviata, Aida
and IL Trovatore.
-In 1850 when the Treato la Fenice in Venice asked Verdi for a new opera he
adopted a melodrama by the French playwright Victor Hugo called
Le Roi s�amuse, where the king almost victimized by his hunchback
jester was supposed to be Francois I of France. The play provoked a scandal
because the police feared that a plot showing a monarch in bad light might
provoke bad things. Verdi had to change the names of his characters so the king
became the Duke of Mantua, a character in the play.
-The play was introduced in
The Rigoletto- (1851)
Summary:
Verdi dared to create an operatic hero out of an old hunchback, a court jester,
named Rigoletto- who loved his daughter, Gilda more than anything. Rigoletto�s
master, the Duke of Mantua, has won Gilda�s love when posing as a poor student.
He seduces Gilda causing Rigoletto to plot his death. Gilda loves the Duke and
sacrifices herself to save him.
Act by Act:
Act 1-
Strolling among the courtiers, the Duke of Mantua boasts of his greatness. The
Rigoletto suggests that his master win the beautiful Countess Ceprano by
imprisoning her husband. Sir Ceprano vows revenge on Rigoletto�s wife. When an
old noble, Monterone, denounces the duke for seducing his daughter, he is mocked
by Rigoletto, sure that his master will protect him. Monterone is lead away to
prison and curses Rigoletto.
Act2-
Worrying about the curse, Rigoletto returns home lat at night to his home where
he has hidden his beautiful daughter Gilda. We see on his way home Rigoletto�s
harsh and cruel manner, when he dismisses Sparafucile, a professional assassin.
However, when he gets home his manner becomes softer.
Gilda begs her father to tell her the story of her mother who died long
ago. Rigoletto tells his daughter of her mother�s greatness and says that she is
all he has left. Fearing her safety, he commands Gilda�s nurse Giovanna not to
allow anyone into the house. As Rigoletto leaves the house, the Duke slips past
him, bribes the nurse to allow him to enter, telling her that he is a poor
student names Gualtier Malde. She falls in love with him and soon he must leave.
Meanwhile, the courtiers provoked by Ceprano, stop Rigoletto in the street
asking him to help them abduct Ceprano�s wife. Rigoletto allows them to mask his
face but they blindfold him instead. The courtiers brake into his house and
steal Gilda. Rigoletto frantically searches her room and finding no one, returns
in anguish.
Act 3-
The Duke paces the palace wondering if his courtiers will bring Gilda to him. He
learns that they have brought her to his chamber and he rushes to her. Soon,
Rigoletto arrives searching for Gilda, who he confesses is his daughter. Gilda
appears and runs in shame to her father to confess her love for the Duke. The
enraged Rigoletto swears to take revenge and Gilda out of love begs for the
Duke�s pardon.
Act 4-
On a dark night, Rigoletto and Gilda wait outside a lonely inn to which
Sparafucile (the professional assassin) and his sister Maddalena, lures their
victims. Rigoletto forces Gilda to watch the Duke, disguised as a soldier, make
love to Maddalena. While Maddalena leads her victim on, Rigoletto tells Gilda to
go home and dress herself as a boy and meet him in
R= Romanism
C=Classicism
impartial approach; reality rather than illusion-C
aristocratic patronage of the arts-C
emphasis on balance and clarity of structures-C
emotional subjectivity; fantasy-R
interest in the strange and the unknowns-R
wide range of emotional expression-R
nationalism-R
traditionalism; adherence to established methods-C
enthusiasm for the culture of the Middle Ages-R
exoticism-R
belief in the supernatural; personification-R
art and culture of ancient
brilliant colors and dynamic motion-R
emotional restraint and �good taste�-C
nature as the mirror of the human heart-R
frequently autobiographical-R
period of the industrial revolution-R
individualism-R
faith in the power of reason-C
period of the American and French Revolution-C
10.
Impressionism
�
Impressionism-
a style in art and music which stresses misty atmosphere, fluidy (water), & tone
color.
-
It originated in
-Main composers: Debussy & Rowel
-used dissonant chords that do not resolve themselves &
whole tone scale- a scale made up of whole tones in which there is
no main tone (tonic)
-Large orchestras that surround the conductor in a semicircle
11. Claude Debussy- 1862-1918
�
Whole Tone Scale-
a scale made up of whole tones that doesn�t have a main tone
(Tone-
A sound with a definite pitch and is produced in regular vibrations)
12. Maurice Ravel 1875-1937
�
Ostinato-
a short melody or rhythm repeated persistently throughout a section of music
(EX- Bolero by Maurice Ravel)
�
Scale-
a group of notes (from 5-12 or more in Arabic music) in ascending order or
descending order- ( basically a group of notes that follow each other by going
up/down)
-Bolero-composition
was based on one rhythmic pattern repeated over again throughout the piece and
in 2 forms of 1 melodic idea- very passionate, rich
(Types of scales-
-major/minor- 7 notes played on the white keys, starting on C
-Penatonic- 5 notes played on black keys
-Whole time- 6 notes (C, F, G, G...)
-Chromatic- 12 notes- play every white/black key in a row
16. The Twentieth Century (1900-the present)
-1st
15 years- people felt like they were still in 19th century- no
changes occurred
-1st half of the 20th century- changes took place �
EX- WWI- stopped ideas of 19th century-
-After that the 20th century really began:
Music- reflected the disorder of the time- it no longer tried to �please�
the audience- it was composed to excite people & make listeners sit up and
notice the music
- fast pace
-used new instruments- drums
-Amplification- makes louder
noises (19th century amplification was to include more people in
orchestra, now there is louder music & electronics to do that)
-More fundamental changes in 20th century years than in any time
since Baroque period
Events affected music: WWI, October Revolution, WWII, inventions &
discoveries(radio, gramophone, cars, telephone, movies, photography),
changes in the economy, technology(space age, computers)
Story lines began to changes- famous riot occurred in
Common critiques-
- �cruel dissonance
-�from the 1st measure to the last measure, whatever note one expects
to hear is never the one that comes�
-�hideous sounds is a mild description�
Techniques-
(In tonal Music-you can hear what the
next note will be.)
�
Atonal
where you have no idea where the note will go.
�
Polytonal-
two tones are played in two different chords
�
Polychord-
1 chord that is consonance and another chord played with the first chord forming
dissonance (unpleasant sounds)
-All
of these techniques were used to wake people up.
Characteristics of 20th century music:
1.
rhythm-
uneven rhythms, changing meters
2.
melody-
difficult to sing
3.
harmony-
clash of many sounds
4.
tone color-
new instruments
5.
orchestra-
unusual ensembles
14. Igor Stravinsky (1882-1971)
-Neoclassicism-
an artistic movement in 1920s-1950s which is characterized by emotional
restraint, balance, clarity; Neoclassic composers favored polyphonic textures
but used 20th century harmonies &rhythm
polychord-
a combination of 2 different chords
polyrhythm-
two or more contrasting rhythms played at the same time
polymeter-
several different meters used at the same time
polytonality-
two or more tonal centers used at the same time
15.
-Expressionism- An artistic movement
centered in
EX- art- The Scream by E. Munch
music- Survivor from
12 tone system-
a system which gives equal importance to each twelve chromatic(12 tones
played on black & white keys) tones
tone row-
set or series of a special ordering of the 12 chromic tones
atonality-
the absence of the main key
Sprechstimme-
a style of vocal performance halfway between singing & speaking
A survivor from
- Dramatic cantata for a narrator, male chorus, & orchestra
-deals with the Holocaust & 6 million Jews that died by Nazis
-Story based on a survivor of Warsaw Ghetto- over 400,000 died there
-narrators text= written in
English except for the Nazi commands shouted in German
& includes the last sentence of Shemah Isroel in Hebrew=
the 3 languages in his life
-narrators part= Sprechstimme- � speaking � singing
- 6 minutes building up to last intense sentence of male singers
singing Shemah Isroel
- example of a 12 tone
composition-
-new instruments- trumpets, military drums, high xylophone
Song
-Opening: with a brief
orchestral introduction- captures nightmarish atmosphere in ghettos as Nazis
transported Jews to death camps
-music is identical to the mood- EX- Nazi shouts= loud fast
powerful music
-if the song weren�t so intense and dramatic- you wouldn�t hear the
feeling/ugliness behind it all- instead it would be a pretty, sad song
Other 20th century composers
George Gershwin (1898-1937)
Aaron Copland (1900-1990)
Leonard Bernstein(1918-1990)
Louis Armstrong (1901-1971)
Title |
Composer |
Texture |
Era |
Type |
Technique |
Concerto in E minor for Violin and Orchestra |
Mendelssohn |
Homophonic |
Romantic |
Concerto |
|
Wedding March from a Midsummer Night�s Dream |
Mendelssohn |
Homophonic |
Romantic |
Incidental Music |
|
Nocturne in E major |
Chopin |
Homophonic |
Romantic |
Nocturne |
Rubato |
Waltz in C minor |
Chopin |
Homophonic |
Romantic |
waltz |
Rubato |
Etude #12, �Revolutionary� |
Chopin |
Polyphonic |
Romantic |
Etude |
Rubato |
Polonaise in A major |
Chopin |
Homophonic |
Romantic |
Polonaise |
Rubato |
The Erlking |
Schubert |
Homophonic |
Romantic |
Lied |
|
Symphonie Fantastique, 2nd movement |
Berloiz |
Homophonic |
Romantic |
Program Symphony |
Id�e fixe |
Symphonie Fantastique, Dream of Witches Dinner, 5th mov |
Berloiz |
Polyphonic |
Romantic |
Program symphony |
Id�e fixe |
Romeo and Juliet |
Tchaikovsky |
Conflict theme- polyphonic
Love theme- homophonic |
Romantic |
Concert Overture |
|
Symphony #4 in F Minor, 4th mov. |
Tchaikovsky |
Homophonic |
Romantic |
Symphony |
|
La Donna e mobile |
Verdi |
Homophonic |
Romantic |
Aria/opera |
|
La cortigiani from �Rigoletto� |
Verdi |
Homophonic |
Romantic |
Aria/opera |
|
Sirenes |
Debussy |
Homophonic |
Impressionism |
|
Whole-tone scale |
Bolero |
Ravel |
Homophonic |
Impressionism |
Ballet |
Ostinato |
The Rite of Spring, Dance of Youth and Maidens |
Stravinsky |
Polyphonic |
20th century |
Ballet |
Polychord |
A survivor from |
Schoenberg |
Polyphonic/unison |
20th century |
Cantata |
Sprechstimme |
Rhapsody in Blue |
Gershwin |
Polyphonic |
20th century |
Concerto |
|
Summertime from opera Porgy & Bess |
Gershwin |
Homophonic |
20th century |
Aria/opera |
|
Simple Gifts from ballet Appalachian Spring |
Copland |
Polyphonic |
20th century |
Ballet |
|
|
Bernstein |
Homophonic |
20th century |
Broadway Show |
|
Hotter than That |
Armstrong |
Homophonic |
20th century |
|
|