MUSIC100 Chapter 10 - M USIC100 Chapter 10 T HE N I NETEENT H CENTURY I I M I D-TO-LATE-ROMANT IC M USIC By the middle of the nineteenth century

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Unformatted text preview: M USIC100 Chapter 10 T HE N I NETEENT H CENTURY I I: M I D-TO-LATE-ROMANT IC M USIC- By the middle of the nineteenth century, the main aspects of musical Romanticism had become established: music should represent human emotions to the utmost, and it must tell a story or express an idea that is profound, resonant, or uplifting- A favourite term of the Romantics was “sublime,” which means grand, beyond normal experience, awe-inspiring- During the mid-Romantic period, from the 1850s to the 1870s, the most important musical genres were solo piano works, symphonic program music, and opera- The most important composers were Franz Liszt, Giuseppe Verdi, Richard Wagner, and Pyotr Ilyich Tchaikovsky Works for Solo Piano- Solo piano music appealed to the Romantics because of its focus on the individual- This was the period during which the idea of the performer-hero first took hold, an idea that is still current today (witness our fascination with stars of both the rock and the classical worlds)- The great piano performer of the mid-Romantic period was Liszt Symphonic Program Music- Symphonic program music followed two paths during the 1850s and 1860s- The first was that of the programmatic symphony- The programmatic symphony is a full0length symphony, with each of its three to five movements depicting an episode in the narrative- The second path was that of the symphonic poem- The symphonic poem is a single-movement self-contained work, also for orchestra and also programmatic Opera- During the nineteenth century, there were three national schools of opera: the French, the I talian, and the German- French opera had two very different genres, each with its own style and even its own opera house- The first was grand opera , which incorporated lofty subject matter and spectacular staging, including ballet, choruses, and crowd scenes- The second was opera comique (comic opera), with a much smaller cast and orchestra, simpler musical style, and more down-to-earth plots with humorous or romantic (love) interest- A technical distinction between grand opera and comic opera is that in grand opera the dialogue is set in accompanied musical recitative, whereas in comic opera the dialogue is spoken- By the 1850s and 1860s a new, highly popular operatic genre had evolved in France, one that stood between grand opera and comic opera, known as lyric opera- Lyric opera was melodious, as its name implies; its primary subject matter was tragic love; and its proportions lay somewhere between the spectacular and the skimpy- The greatest lyric opera is Carmen , written by Georges Bizet (1838-1875)- Carmen represented a turning point in the history of opera- With its realistic plot, down-to-earth characters, and turbulent passion, it set the stage for a new, more pointed approach to opera (known as verismo , or “realism”) toward the end of the nineteenth century- I talian opera was dominated by the achievements of one man: Giuseppe Verdi- The central figure in German opera was Wagner, who created some of the...
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This note was uploaded on 01/01/2011 for the course MUSIC 100 taught by Professor J during the Spring '10 term at American College of Computer & Information Sciences.

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MUSIC100 Chapter 10 - M USIC100 Chapter 10 T HE N I NETEENT H CENTURY I I M I D-TO-LATE-ROMANT IC M USIC By the middle of the nineteenth century

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