Early Romantic (1815-1850)
By the second decade of the 19th century, a shift towards new sources for music, along with an increasing chromaticism in melody and the desire for more "expressive" harmony became felt as a stylistic shift. The forces beneath this shift were not only musical, but economic, political and social. The stage was set for a generation of composers who could speak in the new environment of post-Napoleonic Europe.
The first composers of this wave are generally regarded to be Ludwig Spohr, ETA Hoffman, Karl Maria von Weber and Franz Schubert. These composers grew up in the wake of the dramatic expansion of concert life which occurred in the late 18th century and early 19th century, and adjusted their expectations and styles accordingly. For many composers of this decade Beethoven was the example to follow, or at least aspire to. However, as important was the chromatic melody of Muzio Clementi, and the stirring operatic works of Rossini, Cherubini and Mehul. The setting of folk poetry, and of songs for voice and piano generally became an important source of income for composers to serve a growing market of middle class homes which had pianos, and where private music making was considered an essential part of domestic life.
The crucial works of this wave of Romantics were the song cycles and symphonies of Franz Schubert, and the operas of Weber, particularly Oberon, Die Freischütz and Euryanthe. Schubert's work was largely unknown, played only before limited audiences, and would only gradually have a wider impact. The compositions of John Field by contrast would be well known quickly in his lifetime: partially because he had a gift for creating small "characteristic" piano forms and dances.
The next cohort of Romantic composers is generally regarded to start with the young Franz Liszt, Felix Mendelssohn, Fredryck Chopin and Hector Berlioz. All born in the 19th century, and producing works early in their careers of lasting value. Mendelssohn in particular was a prodigy, writing two string quartets, a string octet and orchestral music before even leaving his teens. Chopin would focus on compositions for the piano, including his etudes and two piano concerti. Berlioz would produce the first important "post-Beethoven" symphony with his programatic Sinfonie Fantastique.
At the same time what is now labeled "Romantic Opera" became established 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 would establish a particular norm of emotional expression which continues to dominate the operatic stage. The work of Bellini and Donizetti was immensely popular at this time.
An important aspect of this phase of Romanticism was the wide spread popularity of piano concerts, or as Franz Liszt named them "recitals", which included improvisation on popular themes, short works, and the performance of longer works, particularly sonatas by Beethoven and Mozart. One of the most prominent exponents of Beeethoven was Clara Wieck who would later marry Robert Schumann. The increase in travel, particularly faciliated by rail, and later steamship, created international audiences for piano virtuosi such as Liszt, Chopin and Thalberg - concerts became events in themselves, to some extent an innovation pioneered by Niccolo Paganini the famous violin virtuoso.
With the late 1830's and 1840's the full flowering of this generation in music was presented to the public, including the music of Robert Schumann, Giacomo Meyerbeer and the young Guiseppi Verdi. But it was hardly the only style - a post-classical style exemplified by the Paris Conservatoire, and court music making still dominated concert programs, "Romanticism", at least as practiced by Mendelssohn, Berlioz, Schumann and others was, as yet, not the dominant mode of music making. This was to no small extent changed by the rise of institutions, such as symphony orchestras with regular seasons, to no small extent promoted by Felix Mendelssohn himself. Music was a quasi-religious experience, and the "Philharmonic" society became part of a concert as a time for deep engagement in the music, in contrast to the less formal manners of previous concert life.
It was at this point that Richard Wagner produced his first successful operas, and began arguing for a radically expanded conception of "musical drama". A self-described communist, in constant trouble with both creditors and authorities, he began gathering around him a body of like minded musicians, including Franz Liszt, who would dedicate themselves to making the "Music of the Future".
Literary Romanticism is generally regarded to have ended in 1848, with the revolutions of that year marking a turning point in the mood of Europe, or at least the perception of where the cutting edge of music and art was. With the rise of a self described "realist" ideology, as well as the deaths of such figures as Paganini, Mendelssohn and Schumann, along with the retirement from concertizing of Franz Liszt, a new wave of music making had arrived. Some would argue that, like poetry and painting, this new wave should be identified as Victorian rather than Romantic, but this is at present a minority position. Instead, the late 19th century is described as being the "High Romantic".
By the second decade of the 19th century, a shift towards new sources for music, along with an increasing chromaticism in melody and the desire for more "expressive" harmony became felt as a stylistic shift. The forces beneath this shift were not only musical, but economic, political and social. The stage was set for a generation of composers who could speak in the new environment of post-Napoleonic Europe.
The first composers of this wave are generally regarded to be Ludwig Spohr, ETA Hoffman, Karl Maria von Weber and Franz Schubert. These composers grew up in the wake of the dramatic expansion of concert life which occurred in the late 18th century and early 19th century, and adjusted their expectations and styles accordingly. For many composers of this decade Beethoven was the example to follow, or at least aspire to. However, as important was the chromatic melody of Muzio Clementi, and the stirring operatic works of Rossini, Cherubini and Mehul. The setting of folk poetry, and of songs for voice and piano generally became an important source of income for composers to serve a growing market of middle class homes which had pianos, and where private music making was considered an essential part of domestic life.
The crucial works of this wave of Romantics were the song cycles and symphonies of Franz Schubert, and the operas of Weber, particularly Oberon, Die Freischütz and Euryanthe. Schubert's work was largely unknown, played only before limited audiences, and would only gradually have a wider impact. The compositions of John Field by contrast would be well known quickly in his lifetime: partially because he had a gift for creating small "characteristic" piano forms and dances.
The next cohort of Romantic composers is generally regarded to start with the young Franz Liszt, Felix Mendelssohn, Fredryck Chopin and Hector Berlioz. All born in the 19th century, and producing works early in their careers of lasting value. Mendelssohn in particular was a prodigy, writing two string quartets, a string octet and orchestral music before even leaving his teens. Chopin would focus on compositions for the piano, including his etudes and two piano concerti. Berlioz would produce the first important "post-Beethoven" symphony with his programatic Sinfonie Fantastique.
At the same time what is now labeled "Romantic Opera" became established 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 would establish a particular norm of emotional expression which continues to dominate the operatic stage. The work of Bellini and Donizetti was immensely popular at this time.
An important aspect of this phase of Romanticism was the wide spread popularity of piano concerts, or as Franz Liszt named them "recitals", which included improvisation on popular themes, short works, and the performance of longer works, particularly sonatas by Beethoven and Mozart. One of the most prominent exponents of Beeethoven was Clara Wieck who would later marry Robert Schumann. The increase in travel, particularly faciliated by rail, and later steamship, created international audiences for piano virtuosi such as Liszt, Chopin and Thalberg - concerts became events in themselves, to some extent an innovation pioneered by Niccolo Paganini the famous violin virtuoso.
With the late 1830's and 1840's the full flowering of this generation in music was presented to the public, including the music of Robert Schumann, Giacomo Meyerbeer and the young Guiseppi Verdi. But it was hardly the only style - a post-classical style exemplified by the Paris Conservatoire, and court music making still dominated concert programs, "Romanticism", at least as practiced by Mendelssohn, Berlioz, Schumann and others was, as yet, not the dominant mode of music making. This was to no small extent changed by the rise of institutions, such as symphony orchestras with regular seasons, to no small extent promoted by Felix Mendelssohn himself. Music was a quasi-religious experience, and the "Philharmonic" society became part of a concert as a time for deep engagement in the music, in contrast to the less formal manners of previous concert life.
It was at this point that Richard Wagner produced his first successful operas, and began arguing for a radically expanded conception of "musical drama". A self-described communist, in constant trouble with both creditors and authorities, he began gathering around him a body of like minded musicians, including Franz Liszt, who would dedicate themselves to making the "Music of the Future".
Literary Romanticism is generally regarded to have ended in 1848, with the revolutions of that year marking a turning point in the mood of Europe, or at least the perception of where the cutting edge of music and art was. With the rise of a self described "realist" ideology, as well as the deaths of such figures as Paganini, Mendelssohn and Schumann, along with the retirement from concertizing of Franz Liszt, a new wave of music making had arrived. Some would argue that, like poetry and painting, this new wave should be identified as Victorian rather than Romantic, but this is at present a minority position. Instead, the late 19th century is described as being the "High Romantic".
