Romantic Period

Romantic music is a musicological term referring to a particular period, theory, compositional

practice, and canon in European music history, from about 1815 to 1910.

Romantic music as a movement does not refer to the expression and expansion of musical ideas
established in earlier periods, such as the classical period, nor does it necessarily refer to
romantic love, though that theme was prevalent in many works composed during this time
period. More appropriately, romanticism describes the expansion of formal structures within a
composition, making the pieces more passionate and expressive. Because of the expansion of
form (those elements pertaining to form, key, instrumentation and the likes) within a typical
composition, it became easier to identify an artist based on the work. For example, Beethoven
favored a smooth transition from the 3rd to 4th movement in his symphonies, and thus his
pieces are more distinguishable. Overall, composers during this time expanded on formal ideas
in a new and exciting way.

The era of Romantic music is defined in this article as the period of European classical music
that runs from 1803, when Beethoven wrote his "Eroica" Symphony, to around the end of the
19th century, as well as music written according to the norms and styles of that period. The
Romantic period was preceded by the classical period, and was followed by the modernist
period.

Romantic music is related to romanticism in literature, visual arts, and philosophy, though the
conventional time periods used in musicology are very different from their counterparts in the
other arts, which define "romantic" as running from the 1780s to the 1840s. The Romantic
movement held that not all truth could be deduced from axioms, that there were inescapable
realities in the world which could only be reached through emotion, feeling and intuition.
Romantic music struggled to increase emotional expression and power to describe these deeper
truths, while preserving or even extending the formal structures from the classical period.

Trends of the 19th century

Musical language

Composers of the Romantic period sought to fuse the large structural harmonic planning
demonstrated by earlier masters such as Haydn, and Mozart with further chromatic
innovations, in order to achieve greater fluidity and contrast, and to meet the needs of longer
works. Baroque music and J. S. Bach were not part of the ideas that helped spawn romantic
music because they were ignored and completely out of practice even starting before his death,
at the beginning of the classical period circa 1730. Baroque theoretical ideas on chromaticism
and counterpoint were not resurrected until 1829 when Felix Mendelssohn performed Bach's
St Matthew Passion for the first time since Bach's death in 1750. Chromaticism grew more
varied, as did dissonances and their resolution. Composers modulated to increasingly remote
keys, and their music often prepared the listener less for these modulations than the music of
the classical era. Sometimes, instead of a pivot chord, a pivot note was used. The properties of
the diminished seventh and related chords, which facilitate modulation to many keys, were also
extensively exploited. Composers such as Beethoven, and later Richard Wagner, expanded the
harmonic language with previously-unused chords, or innovative chord progressions. Much has
been written, for example, about Wagner's Tristan chord, found near the opening of Tristan
und Isolde, and its precise harmonic function.

Some composers analogized music to poetry and its rhapsodic and narrative structures, while
creating a more systematic basis for the composing and performing of concert music. Music
theorists of this era codified previous practices, such as the sonata form, while composers
extended them. There was an increasing focus on melodies and themes, as well as an explosion
in the composition of songs. The emphasis on melody found expression in the increasingly
extensive use of cyclic form, which was an important unifying device for some of the longer
pieces that became common during the period.

The greater harmonic elusiveness and fluidity, the longer melodies, poesis as the basis of
expression, and the use of literary inspirations were all present prior to this period. However,
some composers of the Romantic period adopted them as the central pursuit of music itself.
Composers were also influenced by technological advances, including an increase in the range
and power of the piano and the improved chromatic abilities and greater projection of the
instruments of the symphony orchestra.

Non-musical influences

One of the controversies that raged through this period was the relationship of music to
external texts or sources. While program music was common before the 19th century, the
conflict between formal and external inspiration became an important aesthetic issue for some
composers.

During the 1830s Hector Berlioz's Symphonie Fantastique, which was presented with an
extensive program text, caused many critics and academics to pick up their pens. Prominent
among the detractors was Franois-Joseph Ftis, the head of the newly-founded Brussels
Conservatory, who declared that the work was "not music." Robert Schumann defended the
work, but not the program, saying that bad titles would not hurt good music, but good titles
could not save a bad work. Franz Liszt was one of the prominent defenders of extra-musical
inspiration.

This rift grew, with polemics delivered from both sides. For the supporters of "absolute" music,
formal perfection rested on musical expression that obeys the schematics laid down in previous
works, most notably the sonata form then being codified. To the adherents of program music,
the rhapsodic expression of poetry or some other external text was, itself, a form. They argued
that for the artist to bring his life into a work, the form must follow the narrative. Both sides
used Beethoven as inspiration and justification. The rift was exemplified by the conflict between
followers of Johannes Brahms and Richard Wagner: Brahms' disciples took him to be a pinnacle
of absolute music, while Wagnerites put their faith in the poetic "substance" shaping the
harmonic and melodic flow of his music.

Examples of music inspired by literary and artistic sources include Liszt's Faust Symphony,
Dante Symphony, his symphonic poems and his Annees de Pelerinage, Tchaikovsky's Manfred
Symphony, Mahler's First Symphony (based on the novel Titan), the piano cycles of Robert
Schumann and the tone poems of Richard Strauss. Schubert included material from his Lieder
in some of his extended works, and others, such as Liszt, transcribed opera arias and songs for
solo instrumental performance.

Events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and
historical events always affect music. For example, the Industrial Revolution was in full effect
by the late eighteenth early nineteenth centuries. This event had a very profound effect on
music: there were major improvements in the mechanical valves, and keys that most
woodwinds and brass instruments depend on. The new and innovative instruments could be
played with more ease and they were more reliable. The new instruments often had a bigger,
fuller, better-tuned sound.

Another development that had an effect on music was the rise of the middle class. Composers
before this period lived on the patronage of the aristocracy . Many times their audience was
small, composed mostly of the upper class and individuals who were knowledgeable about
music . The Romantic composers, on the other hand, often wrote for public concerts and
festivals, with large audiences of paying customers, who had not necessarily had any music
lessons. Composers of the Romantic Era, like Elgar, showed the world that there should be "no
segregation of musical tastes" and that the "purpose was to write music that was to be heard".

19th-century opera

In opera, the forms for individual numbers that had been established in classical and baroque
opera were more loosely used. By the time Wagner's operas were performed, arias, choruses,
recitatives and ensemble pieces often cannot easily be distinguished from each other in the
continuous, through-composed music.

The decline of castrati led to the heroic leading role in many operas being ascribed to the tenor
voice. The chorus was often given a more important role.

In France, operas such as Bizet's Carmen are typical, but towards the end of the Romantic
period, verismo opera became popular, particularly in Italy. It depicted realistic, rather than
historical or mythological, subjects.

Nationalism

The increasing importance of nationalism as a political force in the 19th century was mirrored
in music and the other arts. Many composers expressed their nationalism by incorporating
elements unique to their native cultures, such as folk song, dances, and legendary histories. In
addition to these exterior elements, there was an increasing diversification of musical language,
as composers used elements of rhythm, melody, and modality characteristic of their respective
nations.

Many composers wrote nationalist music, especially towards the middle and end of the 19th
century. Mikhail Glinka's operas, for example, are on specifically Russian subjects, while
Bedich Smetana and Antonn Dvok both used rhythms and themes from Czech folk dances
and songs. Late in the 19th century, Jean Sibelius wrote music based on the Finnish epic, the
Kalevala and his piece 'Finlandia' became a symbol of Finnish nationalism. Chopin wrote in
forms like the polonaise and mazurka, that were derived from Polish folk music. Many Russian
composers, for example Balakirev, Cui, Borodin, Rimsky-Korsakov shared the common dream
to write music that was inspired by Russian folk music.

The main characteristics of Romantic music

A freedom in form and design; a more intense personal expression of emotion in which
fantasy, imagination and a quest for adventure play an important part.
Emphasis on lyrical, songlike melodies; adventurous modulation; richer harmonies,
often chromatic, with striking use of discords.
Denser, weightier textures with bold dramatic contrasts, exploring a wider range of
pitch, dynamics and tone-colours.
Expansion of the orchestra, sometimes to gigantic proportions; the invention of the
valve system leads to development of the brass section whose weight and power often
dominate the texture.
Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge
musical canvasses with lengthy time-span structures with spectacular, dramatic, and
dynamic climaxes.
Closer links with other arts lead to a keener interest in programme music (programme
symphony, symphonic poem, concert overture).
Shape and unity brought to lengthy works by use of recurring themes (sometimes
transformed/developed): ide fixe (Berlioz), thematic transformations (Liszt), leading-
motive (Wagner), motto theme.
Greater technical virtuosity especially from pianists, violinists and flautists.
Nationalism: reaction against German influences by composers of other countries
(especially Russia, Bohemia, Poland, Norway).

Chronology
Classical roots (1780-1800)

In literature, the Romantic period is often taken to start in 1770s or 1780s Germany with the
movement known as Sturm und Drang ("storm and stress") attended by a greater regard for
Shakespeare and Homer, and for folk sagas, whether genuine or Ossian. It affected writers
including Goethe and Schiller, while in Scotland Robert Burns began setting down folk music.
This literary movement is reflected in the music of contemporary composers, including
Mozart's German operas, Haydn's so-called Sturm und Drang symphonies, the lyrics that
composers (particularly Schubert) chose for their Lieder, and a gradual increase in the violence
of emotion that music expressed. As long as most composers relied on royal or court patronage,
their opportunity to engage in "romanticism and revolt" was limited. Mozart's troubles in the
banning of his The Marriage of Figaro as revolutionary are a case in point.

Romanticism drew its fundamental formal substance from the structures of classical practice.
Performing standards improved during the classical era with the establishment of performing
groups of professional musicians. The role of chromaticism and harmonic ambiguity developed
during the classical era. All of the major classical composers used harmonic ambiguity, and the
technique of moving rapidly between different keys. One of the most famous examples is the
"harmonic chaos" at the opening of Haydn's The Creation, in which the composer avoids
establishing a "home" key at all.

By the 1810s, the use of chromaticism and the minor key, and the desire to move into remote
keys to give music a deeper range, were combined with a greater operatic reach. While
Beethoven would later be regarded as the central figure in this movement, it was composers
such as Clementi and Spohr who represented the contemporary taste in incorporating more
chromatic notes into their thematic material. There was a tension between the desire for more
expressive "color" and the desire for classical structure. One response was in the field of opera,
where texts could provide structure in the absence of formal models. E. T. A. Hoffmann is
principally known as a critic these days, but his opera Undine of 1814 was a radical musical
innovation. Another response to the tension between structure and emotional expression was in
shorter musical forms, including novel ones such as the nocturne.

Early Romantic (1800-1850)

By the second decade of the 19th century, the shift towards new sources of musical inspiration,
along with an increasing chromaticism in melody and more expressive harmony, became a
palpable stylistic shift. The forces underlying this shift were not only musical, but economic,
political and social. A new generation of composers emerged in post-Napoleonic Europe,
among whom were Beethoven, Ludwig Spohr, E.T.A. Hoffman, Carl Maria von Weber and
Franz Schubert.

These composers grew up amidst the dramatic expansion of public concert life during the late
18th and early 19th centuries, which partly shaped their subsequent styles and expectations.
Beethoven was extremely influential as among the first composers to work freelance rather
than being employed full-time by a royal or ecclesiastic patron. The chromatic melodies of
Muzio Clementi and the stirring operatic works of Rossini, Cherubini and Mhul, also had an
influence. The setting of folk poetry and songs for voice and piano, to serve a growing market
of middle-class homes where private music-making was becoming an essential part of domestic
life, was also becoming an important source of income for composers.

Works of this group of early Romantics include the song cycles and later symphonies of Franz
Schubert, and the operas of Weber, particularly Oberon, Der Freischtz and Euryanthe.
Schubert's work found limited contemporary audiences, and only gradually had a wider impact.
In contrast, the compositions of John Field quickly became well-known, partly because he had a
gift for creating small "characteristic" piano forms and dances.

Early-Romantic composers of a slightly later generation included Franz Liszt, Felix

Mendelssohn, Frdric Chopin, and Hector Berlioz. All were born in the 19th century, and
produced works of lasting value early in their careers. Mendelssohn was particularly
precocious, and wrote two string quartets, a string octet, and orchestral music before even
leaving his teens. Chopin was similarly precocious, his famous Op. 10 tudes being written
while still a teen, although he focused on compositions for the piano. Berlioz broke new ground
in his orchestration, and with his programatic symphonies Symphonie Fantastique and Harold in
Italy, the latter based on Byron's Childe Harold's Pilgrimage.
What is now labelled "Romantic Opera" became established at around this time, with a strong
connection between Paris and northern Italy. The combination of French orchestral virtuosity,
Italianate vocal lines and dramatic flare, along with texts drawn from increasingly popular
literature, established a norm of emotional expression which continues to dominate the operatic
stage. The work of Bellini and Donizetti was immensely popular at this time.

Virtuoso concerts (or "recitals," as they were called by Franz Liszt) became immensely popular.
This phenomenon was pioneered by Niccol Paganini, the famous violin virtuoso. The virtuoso
piano recital became particularly popular, and often included improvisations on popular themes,
and the performance of shorter compositions as well as longer works such as the sonatas of
Beethoven and Mozart. One of the most prominent exponents of Beethoven was Clara Wieck,
who later married Robert Schumann. The increase in travel, facilitated by rail and later by
steamship, created international audiences for touring piano virtuosi such as Liszt, Chopin and
Thalberg. Concerts and recitals were promoted as significant events. Such was also the case
with other instruments than the piano such as the harp. The best illustration can be found with
the popular and eccentric French composer and harpist Nicolas Bochsa who travelled most of
his life giving hundreds of harp "recitals" and concerts.

During the late 1830s and 1840s, music of Romantic expression became generally accepted,
even expected. The music of Robert Schumann, Giacomo Meyerbeer and the young Giuseppe
Verdi continued the trends. "Romanticism" was not, however, the only, or even the dominant,
style of music making at the time. A post-classical style exemplified by the Paris Conservatoire,
as well as court music, still dominated concert programs. This began to change with the rise of
performing institutions, along the lines of the Philharmonic Society of London founded in 1813.
Such institutions often promoted regular concert seasons, a trend promoted by Felix
Mendelssohn among others. Listening to music came to be accepted as a life-enhancing, almost
religious, experience. The public's engagement in the music of the time contrasted with the less
formal manners of concerts in the classical period, where music had often been promoted as a
background diversion.

Also in the 1830s and 1840s Richard Wagner produced his first successful operas. He argued
for a radically expanded conception of "musical drama." A man who described himself as a
revolutionary, and who was in constant trouble with creditors and the authorities, he began
gathering around him a body of like-minded musicians, including Franz Liszt, who dedicated
themselves to making the "Music of the Future."

Literary Romanticism ended in 1848, with the revolutions of that year marking a turning point
in the mood of Europe. With the rise of realism, as well as the deaths of Paganini, Mendelssohn
and Schumann, and Liszt's retirement from public performance, perceptions altered of where
the cutting edge in music and art lay.

Late Romantic Era (1850-1910)

As the 19th century moved into its second half, many social, political and economic changes set
in motion in the post-Napoleonic period became entrenched. Railways and the electric
telegraph bound the European world ever closer together. The nationalism that had been an
important strain of early 19th century Romantic music became formalized by political and
linguistic means. Literature for the middle classes became the publishing norm, including the
rise of the novel as the primary literary form.

In the previous 50 years numerous innovations in instrumentation, including the double

escarpment piano action, the valved wind instrument, and the chin rest for violins and violas,
were no longer novelties but requirements. The dramatic increase in musical education brought
a still wider sophisticated audience, and many composers took advantage of the greater
regularity of concert life, and the greater financial and technical resources available. These
changes brought an expansion in the sheer number of symphonies, concertos and "tone poems"
which were composed, and the number of performances in the opera seasons in Paris, London
and Italy. The establishment of conservatories and universities also created centers where
musicians could forge stable teaching careers, rather than relying on their own
entrepreneurship.

During this late Romantic period, some composers created styles and forms associated with
their national folk cultures. The notion that there were "German" and "Italian" styles had long
been established in writing on music, but the late 19th century saw the rise of a nationalist
Russian style (Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky and Borodin), and also
Czech, Finnish and French nationalist styles of composition. Some composers were expressly
nationalistic in their objectives, seeking to rediscover their country's national identity in the
face of occupation or oppression, as did for example the Bohemians Bedich Smetana and
Antonn Dvok, and the Finn Jean Sibelius.