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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