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Upcoming Concerts @ McGill Fortepiano Recital What? – program has not been posted but presumably Classical music for fortepiano Who? – Melisande McNabney, graduate student When? – Sunday February 22, 5:00 pm Where? – Tanna Schulich Hall (555 Sherbrooke, New Music Building)

Romantic Era

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Upcoming Concerts @ McGill

Fortepiano RecitalWhat? program has not been posted but presumably Classical music for fortepianoWho? Melisande McNabney, graduate studentWhen? Sunday February 22, 5:00 pmWhere? Tanna Schulich Hall (555 Sherbrooke, New Music Building)How Much? FREE (no ticket required)

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Upcoming Concerts @ McGill

Fortepiano RecitalWhat? program has not been posted but presumably Classical music for fortepianoWho? Michael Pecak, graduate studentWhen? Sunday February 22, 8:00 pmWhere? Tanna Schulich Hall (555 Sherbrooke, New Music Building)How Much? FREE (no ticket required)

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Agenda: February 17Introduction to the Romantic EraMiniature/Character PieceSchumann, CarnavalChopin, Nocturne in F#+

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early 19th c.early 20th c. Ending modernist style of Mahler and Debussy (late 19th c.) beginning of World War I (1914)Beginning 18023: Beethovens heroic periodcentre for music-making shifted from Vienna ParisIntroduction to the Romantic Era

The French Revolution (17891799)revolt against the monarchymantra: Libert, galit, fraternit Reign of Terror: execution of aristocrats and clergyeventually led to the end of hereditary rule in Francebut Napoleon crowned himself Emperor in 1804monarchy kept on reasserted itselfIntroduction to the Romantic Era

Unification of Germany and Italy (1870s)1848: failed revolutions in both countries in support of unification (and to free Northern Italy from Austrian rule)

Italy succeeded in 1870; Germany in 1871Wagner participated in the uprising in Dresdensome opera choruses by Verdi became theme songs of the Italian liberation movement (Risorgimento)Introduction to the Romantic Era

Patronagenow largely supported by the middle classpossible to make a living through public concerts and the sale of sheet musicchange in the composerpatron relationshipHaydn was Prince Esterhzys servantBeethoven had aristocratic patrons but refused to be treated as a servantIntroduction to the Romantic Era

Aim of Romantic Art: Self-Expressionnew conception of artist as geniusnew importance of originalityConsequences:each composer cultivated a unique styledeformation and rejection of Classical formsbelief that art need not always be beautifulcomposers produced less musicIntroduction to the Romantic Era

Rise in Importance of Instrumental MusicClassical EraKant: instrumental music is not a fine art because it doesnt represent anythingRomantic EraSchopenhauer: instrumental music is not merely an art but the most important art!Introduction to the Romantic Era

Age of the Composerincreasing power of composers and decreasing power of performersscores got more detailedno more improvisation: performers were expected to execute the composers directions faithfullynot all composers performedsome composers became conductors (a new role)Introduction to the Romantic Era

Industrial Revolutionbegan in the middle of the 18th c.more lower class people began working in cities (factories, mines) instead of in rural areas as farmers and craftspeopleinhumane working conditionsgrowth of cities lead to increased disease, pollution, and crimeIntroduction to the Romantic Era

Industrial Revolution Desire for Escapismidealized representations of humans living in harmony with nature (e.g., Beethovens Pastoral Symphony)preoccupation with the supernaturalmythology (e.g., Wagners Ring Cycle)witches (e.g., Berliozs Symphonie fantastique)ghosts, zombies, vampiresIntroduction to the Romantic Era

instruments assumed their modern formswinds & brass are now able to play in all keys (valved brass; more keywork for winds)fortepiano pianoforte (or piano for short)Other Consequences of the Industrial Revolutionrise of the newspaper new job: music criticadvised non-musicians about music through reviewsfamous composer-critics: Berlioz, SchumannIntroduction to the Romantic Era

now the most important context for musicprimary audience: the middle-classthe middle-class had conservative tastes concerts became musical museumscomposers began to feel alienated from the publicThe Public ConcertDownsides:Introduction to the Romantic Era

HarmonyMelodymore dissonancefewer cadencesunclear sense of keyextremes in register (wider range of pitches)long phrases of irregular lengthsmore chromaticismRomantic Style Markers

Rhythm & Metrerubato: a performance technique by which some beats are lengthened and others shortenedRomantic Style Markerscreates an inconsistent, unclear beatone way performers could still assert their individuality

TimbreClassical special instruments standard instruments of the Romantic orchestranew instruments: tuba, bass clarinet, Eclarinet (small clarinet), English horn (big oboe), harpmore attention to the art of orchestrationsize and complexity of orchestral music made the conductor a necessaryRomantic Style Markers

Strings Winds Brass PercussionClassical vs. Romantic OrchestraViolinViolaCelloBass2 Flutes2 Oboes(2 Clarinets)2 Bassoons(2 Trumpets)2 Horns(Trombone)Timpani(Cymbals)(Triangle)(Bass Drum)ViolinViolaCelloBass

(Harp)2 Flutes, + Piccolo2 Oboes + English Horn2 Clarinets + Bass and EClarinet2 Bassoons + Contrabassoon2 Trumpets4 Horns3 Trombones1 TubaTimpaniBass DrumSnare DrumCymbalsTriangleClassical:Romantic:

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Formbroke the rules of Classical forms or followed no standard form at allused stories as the basis for form (program music)organicismincreased importance of thematic developmentRomantic Style Markersthemes are continually transformed, not just repeated the same each time

Miniature or Character Piecevery short but very intensemany have descriptive titlesperformed at salonssome were for amateurs; some for professionalsoften published in setsa short work of chamber music that suggests a mood or charactere.g., Chopins Nocturnes; Schumanns Carnaval

SchumannWhen? early 19th c.Where? GermanyWhat? character piece, Lied, song cycle, symphony

aspiring piano virtuoso but injured himselfalso a music criticwrote under the pen names Florestan and Eusebiusmarried piano virtuoso and composer Clara Wieckpsychological problems at the end of his life

SchumannCarnavalset of 24 character pieces that represent literal characterscharacters are guests at a Mardi Gras ball:translated the letters into notes: AECBSchumanns alter egos, friends (Clara, Chopin, Paganini), commedia dellarte characterscomposed when Schumann was in love with a woman from Asch

SchumannCarnaval, EusebiusEusebius: tender, dreamy, introspectiveslow temposoft dynamicsunclear metrevague, languorous rhythmsfollows no standard form

Florestan: impetuous, mercurialextreme changes in mood and tempoperformed with rubatono cadence at the end!detailed performing directionsfirst notes spell ASCHfollows no standard formSchumannCarnaval, Florestan

ChopinWhen? early 19th c.Where? ParisWhat? solo piano music, almost exclusively

virtuoso pianist from Warsaw (under Russian rule)made his career in Parisforeigners loved the exoticism of his stylized Polish dances: mazurkas and polonaisesprimarily performed in salons

ChopinNocturne in F#+, op. 15, no. 2nocturne means night pieceperformed with lots of rubatohighly ornamented melodyornamentation is written not, not improvisedhighly chromaticunusual harmoniesfollows no standard form

Before Next Class ... listen to the excerpts of the Listen 6-CD set for:Schubert, Der ErlknigSchumann, Im wunderschnen Monat Mai