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Edit] Romanticism and music






See also: Romantic music

Ludwig van Beethoven

Although the term " Romanticism" when applied to music has come to imply the period roughly from the 1820s until around 1900, the contemporary application of " romantic" to music did not coincide with this modern interpretation. In 1810 E.T.A. Hoffmann called Mozart, Haydn and Beethoven the three " Romantic Composers", and Ludwig Spohr used the term " good Romantic style" to apply to parts of Beethoven's Fifth Symphony. Technically, Mozart and Haydn are considered Classical composers, and by most standards, Beethoven represents the start of the musical Romantic period. By the early 20th century, the sense that there had been a decisive break with the musical past led to the establishment of the 19th century as " The Romantic Era", and it is referred to as such in the standard encyclopedias of music.

Fré dé ric Chopin

The traditional modern discussion of the music of Romanticism includes elements, such as the growing use of folk music, which are also directly related to the broader current of Romantic nationalism in the arts[17] as well as aspects already present in 18th-century music, such as the cantabile accompanied melody[18] to which Romantic composers beginning with Franz Schubert applied restless key modulations.

Niccolò Paganini

The heightened contrasts and emotions of Sturm und Drang (German for " Storm and Stress") seem a precursor of the Gothic novel in literature, or the sanguinary elements of some of the operas of the period of the French Revolution. The libretti of Lorenzo da Ponte for Mozart's eloquent music convey a new sense of individuality and freedom. The romantic generation viewed Beethoven as their ideal of a heroic artist—a man who first dedicated a symphony to Consul Bonaparte as a champion of freedom and then challenged Emperor Napoleon by striking him out from the dedication of the Eroica Symphony. In Beethoven's Fidelio he creates the apotheosis of the 'rescue operas' which were another feature of French musical culture during the revolutionary period, in order to hymn the freedom which underlay the thinking of all radical artists in the years of hope after the Congress of Vienna.

Franz Liszt

Pyotr Tchaikovsky

Pyotr Tchaikovsky's wide ranging output includes symphonies, operas, ballets, instrumental and chamber music and songs. He wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and opera Eugene Onegin.

In the contemporary music culture, the romantic musician followed a public career depending on sensitive middle-class audiences rather than on a courtly patron, as had been the case with earlier musicians and composers. Public persona characterized a new generation of virtuosi who made their way as soloists, epitomized in the concert tours of Paganini and Liszt.

Beethoven's use of tonal architecture in such a way as to allow significant expansion of musical forms and structures was immediately recognized as bringing a new dimension to music. His later piano music and string quartets, especially, showed the way to a completely unexplored musical universe. E.T.A. Hoffmann was able to write of the supremacy of instrumental music over vocal music in expressiveness, a concept which would previously have been regarded as absurd. Hoffmann himself, as a practitioner both of music and literature, encouraged the notion of music as " programmatic" or narrative, an idea which new audiences found attractive. Early 19th century developments in instrumental technology—iron frames for pianos, wound metal strings for string instruments—enabled louder dynamics, more varied tone colours, and the potential for sensational virtuosity. Such developments swelled the length of pieces, introduced programmatic titles, and created new genres such as the free-standing concert overture or tone poem, the piano fantasia, nocturne and rhapsody, and the virtuosic concerto, which became central to musical romanticism.

Richard Wagner

In opera, a new Romantic atmosphere combining supernatural terror and melodramatic plot in a folkloric context was first successfully achieved by Weber's Der Freischü tz (1817, revised 1821). Enriched timbre and color marked the early orchestration of Hector Berlioz in France, and the grand operas of Meyerbeer. Amongst the radical fringe of what became mockingly characterised (adopting Wagner's own words) as " artists of the future", Liszt and Wagner each embodied the Romantic cult of the free, inspired, charismatic, perhaps ruthlessly unconventional individual artistic personality.

The Romantic-era ballet freed itself both from opera, in which a ballet interlude retained an essential role only in Paris, and from court fê tes, and independently paralleled the developments of opera with explicit narrative libretti, expressed in lengthy passages of mime, the universal presence of impetuous or ill-fated young love, the supremacy of the ballerina and the choice often of supernatural subjects: Giselle (1841) remains the supreme example.

It is the period of 1815 to 1848 which must be regarded as the true age of Romanticism in music – the age of the last compositions of Beethoven (d. 1827) and Schubert (d. 1828), of the works of Schumann (d. 1856) and Chopin (d.1849), of the early struggles of Berlioz and Richard Wagner, of the great virtuosi such as Paganini (d. 1840), and the young Liszt and Thalberg. Now that we are able to listen to the work of Mendelssohn (d. 1847) stripped of the Biedermeier reputation unfairly attached to it, he can also be placed in this more appropriate context. After this period, with Chopin and Paganini dead, Liszt retired from the concert platform at a minor German court, Wagner effectively in exile until he obtained royal patronage in Bavaria, and Berlioz still struggling with the bourgeois liberalism which all but smothered radical artistic endeavour in Europe, Romanticism in music was surely past its prime—giving way, rather, to the period of musical romantics. (See article Romantic music).


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