File

Romantic Period
1820 – 1900
Q4 – Spring 2006
THE ROMANTIC PERIOD
• 1820 – 1900
• Stressed emotion, imagination, &
individualism
• Reaction against the bondage of the
patronage system and “rules” of
composing in Classical period
2
CONT.
• Composers not able to make as
much $ bc they weren’t working for
the aristocracy.
• Worked on the side as teachers,
conductors, music critics, soloists
3
THE MUSIC
Was mostly written for the middle class
by middle-class composers
1. Emphasis: self-expression, individual
style
2. Subjects: fantastic or dream-like
characters, nature
4
CONT.
3. Nationalism – a specific national
identity. Composers used folksongs,
legends, their country’s history as
subjects.
5
CONT.
4. Exoticism – dealing with far-away lands
and their exotic natures.
5. Program Music – Music that tells a
story, or is based on an idea or scene.
6
CONT.
6. Pieces became MUCH longer.
> A symphony in the Classical era might
take 15 minutes. A Romantic era
symphony might take 2 hours+.
7
THE LIED
• German “song”
• Short, descriptive piece for solo singer
with piano
• Example: The Erlking by Franz
Schubert
8
THE ERLKÖNIG
Don’t have to
copy these
black slides
• Schubert wrote (at 18)
• Legend – whoever is touched by the king of
the elves (the Erlking) must die
• Characters: Narrator, father, child, Erlking
• Through-composed
NARRATOR
Wer reitet so spät durch
Nacht und Wind?
Es ist der Vater mit seinem
Kind;
Er hat den Knaben wohl in
dem Arm,
Er faßt ihn sicher, er hält ihn
warm.
Who rides there so late
through the night dark and
drear?
The father it is, with his
infant so dear;
He holds the boy tightly
clasped in his arm,
He holds him safely, he
keeps him warm.
FATHER
"Mein Sohn, was birgst du so
bang dein Gesicht?" –
"My son, wherefore seek'st
thou thy face thus to hide?"
SON
"Siehst, Vater, du den Erlkönig "Look, father, the Erlking is
nicht?
close by our side!
Den Erlenkönig mit Kron und
Do you not see the Erlking,
Schweif?" –
with crown and tail?"
FATHER
"Mein Sohn, es ist ein
Nebelstreif."
"My son, it is only the mist
rising over the plain."
11
ERLKING
"Du liebes Kind, komm,
geh mit mir!
Gar schöne Spiele spiel'
ich mit dir;
Manch' bunte Blumen sind
an dem Strand,
Meine Mutter hat manch
gülden Gewand." –
SON
"Mein Vater, mein Vater,
und hörest du nicht,
Was Erlenkönig mir leise
verspricht?" –
"Oh, come, dear child! oh
come with me!
For I will play games with you;
On my beach, lovely flowers
their blossoms unfold,
My mother shall give you
garments of gold."
"My father, my father, do you
not hear
The words that the Erlking
breathes into my ear?"
12
FATHER
"Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind." –
ERLKING
"Willst, feiner Knabe, du mit mir
gehen?
Meine Töchter sollen dich warten
schön;
Meine Töchter führen den nächtlichen
Reihn,
Und wiegen und tanzen und singen
dich ein." –
"Be calm, dear child, you are
deceived;
the wind is only blowing
through the leaves."
"Will you go, then, dear child,
will you go with me there?
My daughters shall take care
of you with sisterly care
My daughters by night on the
dance floor you lead,
They'll cradle and rock you,
and sing you to sleep."
SON
"Mein Vater, mein Vater, und
siehst du nicht dort
Erlkönigs Töchter am düstern
Ort?" –
"My father, my father, do you
not see,
How the Erlking is showing
his daughters to me?"
FATHER
"Mein Sohn, mein Sohn, ich "My son, my son, I see it
seh es genau:
aright,
Es scheinen die alten Weiden
'Tis the old grey trees
so grau. –"
deceiving thy sight."
ERLKING
"Ich liebe dich, mich reizt
deine schöne Gestalt;
Und bist du nicht willig, so
brauch ich Gewalt." –
SON
"Mein Vater, mein Vater,
jetzt faßt er mich an!
Erlkönig hat mir ein Leids
getan!" –
"I love thee, I'm charmed by
your beauty, dear boy!
And if you aren't willing,
then I'll use force."
"My father, my father, he
seizes me fast,
For the Erlking has hurt me
at last."
15
NARRATOR
Dem Vater grauset's, er
reitet geschwind,
Er hält in Armen das
ächzende Kind,
Erreicht den Hof mit Müh'
und Not;
In seinen Armen das Kind
The father shudders, he rides
swiftly,
He holds in his arms the
shuddering child;
He reaches the courtyard
with toil and dread, –
In his arms the child
NARRATOR
war
was
tot.
dead.
17
THE CHARACTER PIECE
• Basically a lied for solo piano (no words)
• Descriptive of an emotion/feeling
• Example: Liebestraum (“Love Dream”) by
Franz Liszt
18
LIEBESTRAUM (“LOVE DREAM”)
BY FRANZ LISZT
19
HUNGARIAN RHAPSODY NO. 2
BY FRANZ LISZT
20
HUNGARIAN RHAPSODY NO. 2
DUET – BY VICTOR BORGE
5:30-9:10-12:05
21
FRANZ LISZT
• 1811 – 1886, Hungarian
• Wanted to be the Paganini
of the piano
• At 19, went into seclusion, practiced
8-12 hours per day
• Emerged as one of the greatest pianists
of his time
22
THE SYMPHONIC POEM
• Basically a character piece for
orchestra
• Invented by Liszt
• Examples:
- The Moldau by Bedrich Smetana
- Romeo and Juliet by Peter
Tchaikovsky
23
24
THE MOLDAU (EXCERPT)
BY BEDRICH SMETANA
25
ROMEO AND JULIET – “LOVE THEME”
BY PIOTR TCHAIKOVSKY
26
RICHARD WAGNER
• 1813 – 1883, Germany
• Increased size of orchestra to 100+,
added trombones & tubas
• Best known for operas – required huge
groups, large expensive scenery &
costumes. As a result, it was hard to
perform them bc it was so expensive.
27
WAGNER (CONT.)
• Ring of the Nibelung (The Ring Cycle)
– 4 operas, takes 4 days
• Created leitmotif – short recurring
phrase connected with a
particular person, place, or idea.
• Ex: Darth Vader theme
28
RIDE OF THE VALKYRIES
BY – RICHARD WAGNER
29
IMPRESSIONISM
• Painting technique created by Monet,
soft, blurred details, up close – tiny
dots/smudges, far away – full picture
comes together
• Ex: Water Lilies
A Sunday on La Grande Jatte
30
WATER LILIES
CLAUDE MONET
31
A SUNDAY ON LA GRANDE JATTE
CLAUDE MONET
32
CLAUDE DEBUSSY
• French Impressionist composer
• Depicted same idea with his music
• Example: Claire de lune
33
CLAIRE DE LUNE
BY – CLAUDE DEBUSSY
34
35