Romantic Music Essay Research Paper ROMANTIC MUSIC
Romantic Music Essay, Research PaperRomantic MUSIC ( The Arts ) The ideals of instrumental music At one point in the survey of the Romantic period of music, we come upon the first of several seemingly opposing conditions that plague all efforts to hold on the significance of Romantic as applied to the music of the nineteenth century. This resistance involved the relation between music and words.
If instrumentalmusic is the perfect Romantic art, why is it acknowledged that the great Masterss of the symphonic music, the highest signifier of instrumental music, were non Romantic composers, but were the Classical composers, Haydn, Mozart, and Beethoven? Furthermore, one of the most characteristic nineteenth century genres was the Lied, a vocal piece in whichShubert, Schumann, Brahams, and Wolf attained a new brotherhood between music and poesy. Furthermore, a big figure of taking composers in the nineteenth century were highly interested and articulate in literary ession, and taking Romantic novelists and poets wrote about music with deep love and penetration. The struggle between the ideal of pure instrumental music ( absolute music ) as the ultimate Romantic manner of look, and the strong literary orientation of the nineteenth century, was resolved in the construct of plan music. Program music, as Liszt and others in the nineteenth century used the term, is music associatedwith poetic, descriptive, and even narrative capable affair. This is done non by agencies of musical figures copying natural sounds and motions, but by inventive suggestion. Program music aimed to absorb and convey the imagined capable affair in such a manner that the ensuing work, although & # 8220 ; programmed & # 8221 ; , doesnot sound forced, and transcends the capable affair it seeks to stand for. Instrumental music therefore became a vehicle for the vocalization of ideas which, although first hinted in words, may finally be beyond the power of words to to the full show.
Practically every composer of the epoch was, to some grade, composing plan music, conditions or non this was publically acknowledged. One ground it was so easy for hearers to link a scene or a narrative or a verse form with a piece of Romantic music is that frequently the composer himself, possibly unconsciously, was working from some such thoughts. Writers on music projected their ain constructs of the expressive maps of music into the past, and read Romantic plans into the instrumental works non merely of Beethoven, but besides the likes of Mozart, Haydn, and Bach! The diffused scenic effects in the music of such composers as Mendelssohn and Schumann seem picket when compared to the hectic, and elaborate play that constitutes Thursdaiese narrative of Berlioz’s Symphonie fantastique ( 1830 ) . Because his imaginativeness ever seemed to run in parallel literary and musical channels, Berlioz one time subtitled his work “Episode in the life of an artist” , and provided a plan for it which was in consequence a piece of Romantic autobiography. In ulterior old ages, he conceded that if necessary, when the symphonic music was performed by itself in concert, the plan would necessitate non be given out for the music would “of itself,and irrespective of any dramatic purpose, offer an involvement in the musical sense alone. & # 8221 ; The rule formal going in the symphonic music is the return of the opening subject of the first Allegro, the idee fixe. This, harmonizing to the plan, is the obsessional image of the hero & # 8217 ; s beloved, that recurs in the other motions.
To advert another illustration: in the finale of the Adagio there is a transition for solo English horn and four Tympani intended to propose & # 8220 ; distant boom & # 8221 ; . The foremost composer of plan music after Beriloz was Franz Liszt, 12 of whose symphonic verse forms were written between 1848 and 1858. The name symphonic verse form is important: these pieces are symphonic, but Liszt did non name them symphonic musics, presumptively because or their short length, and the fact that they are non divided up into motions. Alternatively, each is a continuos signifier with assorted subdivisions, more or less varied in pacing and character, and a few subjects that are varied, developed, or repeated within the design of the work.
Les Preludes, the lone 1 that is still played much today, is good designed, tuneful, and expeditiously scored. However, its idiom causes it to be rhetorical in a sense. It forces today & # 8217 ; s hearers to here extravagantly inordinate emotion on thoughts that do non look sufficiently of import for such a show of feeling. Liszt & # 8217 ; s two symphonic musics were every bit programmatic as his symphonic verse forms. His chef-d’oeuvre, the Faust Symphony, was dedicated to Berlioz.
It consists of three motions entitled severally Faust, Gretchen, and Mephistopheles, with a coda ( added later ) which is a puting for tenor soloist and male chorus. The first three motions correspond to the authoritative program of an debut in Allegro, Andante, and Scherzo. Liszt attempted to sum up the thoughts of Romantic music in these words: & # 8220 ; Music embodies experiencing without coercing it & # 8211 ; as it is forced in itsother manifestations, in most humanistic disciplines and particularly in the art ofwords & # 8211 ; to postulate andcombine with thought & # 8230 ; .it is the corporal and intelligent kernel offeeling ; capable of being apprehended by our senses, it permeates them like a dart, like aray, like a dew, like a spirit, and fills our soul. & # 8221 ;