Romantic music
Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature,[2] literature,[2] poetry,[2] super-natural elements, or the fine arts.
This event profoundly affected music: there were major improvements in the mechanical valves and keys that most woodwinds and brass instruments depend on.
[16] 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.
For example, Jean Sibelius' Finlandia has been interpreted to represent the rising nation of Finland, which would someday gain independence from Russian control.
In addition, there are fantastic-horrious materials by Heinrich Marschner and finally the cheerful opera by Albert Lortzing, while Louis Spohr became known mainly for his instrumental music.
Italy experienced the heyday of the Belcanto opera in early Romanticism, associated with the names of Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini.
In France, on the one hand, the light Opéra comique developed, its representatives are François-Adrien Boieldieu, Daniel-François-Esprit Auber, and Adolphe Adam, the latter also known for his ballets.
The Irishman John Field composed the first Nocturnes for piano, Friedrich Kuhlau worked in Denmark and the Swede Franz Berwald wrote four very idiosyncratic symphonies.
The Polish composer Frédéric Chopin explored previously unknown depths of emotion in his character pieces and dances for piano.
Felix Mendelssohn was again more oriented towards the classicist formal language and became a role model especially for Scandinavian composers such as the Dane Niels Wilhelm Gade.
Among others, Robert Volkmann, Friedrich Kiel, Carl Reinecke, Max Bruch, Josef Gabriel Rheinberger, and Hermann Goetz are included in this party.
His immense charisma made all other composers fade in Italy, including Amilcare Ponchielli and Arrigo Boito, who was also the librettist of his late operas Otello and Falstaff.
The Belgian-born César Franck was accompanied by a revival of organ music, which was continued by Charles-Marie Widor, later Louis Vierne and Charles Tournemire.
The national Russian current started by Glinka was continued in Russia by the "Group of Five": Mily Balakirev, Alexander Borodin, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and César Cui.
Thus, the symphonies of Gustav Mahler reached previously unknown dimensions, partly give up the traditional four-sentence and often contain vocal proportions.
More committed to tradition, particularly oriented towards Bruckner, are the symphonies of Franz Schmidt and Richard Wetz, while Max Reger resorted to Bach's polyphony in his numerous instrumental works, but developed it harmoniously extremely boldly.
[25] Other important members of this movement includes the critic Richard Pohl and composers Felix Draeseke, Julius Reubke, Karl Klindworth, William Mason, and Peter Cornelius.
The conservatives were a broad group of musicians and critics who maintained the artistic legacy of Robert Schumann who adhered to composing and promoting absolute music.
[27] The most prominent members of this circle were Johannes Brahms, Joseph Joachim, Clara Schumann, and the Leipzig Conservatoire, which had been founded by Felix Mendelssohn.
Led by Mily Balakirev the group's main members also consisted of César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin.
This limit was finally reached during the Late Romantic period where progressive tonality is demonstrated in the works of composers such as Gustav Mahler.
Some notable movements to form in response to Romanticism's collapse include Expressionism with Arnold Schoenberg and the Second Viennese School being its main promoters and Primitivism with Igor Stravinsky being its most influential composer.
The most conservative respect to the Beethovenian model includes composers such as Franz Schubert, Felix Mendelssohn, Robert Schumann, Camille Saint-Saëns, and Johannes Brahms.
Finally, some will also tell a story throughout their symphonies; like Franz Liszt, they will create the symphonic poem, a new musical genre, usually composed of a single movement and inspired by a theme, character or literary text.
Finally, the concerto will allow instrumentalist composers to reveal their virtuosity, such as Niccolò Paganini on the violin, and Frédéric Chopin, Robert Schumann, and Franz Liszt on the piano.
Immersed in the climate of the night, an atmosphere privileged by romantics, it is often of ABA structure, with a very flexible and ornate melody, accompanied by a left hand with undulating arpeggios.
Hector Berlioz's Les Troyens was first ignored, Benvenuto Cellini is consputed during the premiere, while Charles Gounod's Faust is one of the most popular French operas of the mid-19th century.
During the second part of the 19th century, Georges Bizet will revolutionize opera with Carmen: "local color based on the use of Spanish songs and dances" according to Nietzsche, it is "a ray of Mediterranean light dissipating the fog of the Wagnerian ideal".
The dominant figure is then Richard Strauss, who uses orchestration and vocal techniques similar to those of Wagner in Salome and Elektra while developing his own path.
The trilogy formed by Rigoletto, Il trovatore and La traviata are among his major works but he reaches the peak of his art with Otello and Falstaff at the end of his career.
