Early Romanticism

Early Romanticism

Organization of the text:

• Part V of the text covers the entire 19th century. We will do only chapters 17 and 18 in this semester, which covers the Early Romantics plus the Late Romantic Symphonists, including Dvorak, Brahms and Tchaikovsky.
• 19th century opera will be covered next semester. This is an arbitrary division. When we come to opera, we will double back to the beginning of the century and cover the same chronological ground, focusing on the genre of opera. Caveat for Weber.
• Other Late Romantic manifestations such as Russian Nationalism will also be covered, later.

Background

1)1799—Napoleon seized power, becoming first the Consulate of the Republic and later, Emperor. His military campaigns carried his successfully across Europe. He declared himself emperor in 1804, but suffered defeat at the hands of the Russian Winter. He was exiled in 1814, regained power in 1815, and finally defeated at Waterloo.

2)1815—Congress of Vienna redrew the map of Europe. In the France, the Restoration placed Louis XVIII on the throne. In Austria, Metternich was the advisor to Francis I. In the colonies, the revolution spread across Latin America and the US expanded with the Louisiana Purchase under Jefferson.

3)Romanticism:

i)Connotes something legendary, fantastic, imaginary

ii)In German-speaking lands, term was applied to literature, first

iii)Classical poetry—objectively beautiful, universally valid

iv)Romantic poetry—transgressed rules, expressed longing, love of nature, etc

v)Classical music—elegant, natural, formally clear, universally appealing

vi)Romantic music—search for the original, evocative, expressive, extreme

4)The continuity between Classicism and Romanticism is at least as important as the break. Classical traits persist throughout the century. Even Beethoven “classicized” some of his late works. Therefore, the dual sides of Beethoven (the heroic vs. the classical) lead to the split in the century.

5)Early Romanticism arises in an era which had to deal with:

(a)Instability—political turmoil surrounding the end of the French Revolution, the Terror, the rise and fall of Napoleon, and the forced peace of Treaty of Versailles.

(b)Change in identity—the map of Europe is radically changed after 1815. The Congress of Vienna, under Metternich, redrew the map, eliminating many smaller states. Italy and Germany were still partitioned, but the pull to unify was strong.

(c)The inequities and unresolved political problems of the Treaty of Versailles lead to the turmoil of mid-century, as seen in the unsuccessful revolutions of 1848-1849.

(d)Shadow of Beethoven

(e)Painting by Josef Danhauser (1840) depicts (Left to Right)

1. Alexandre Dumas the Elder—his son would write the novel upon which La traviata is based. Dumas pere wrote The Three Musketeers and The Count of Monte Cristo. He was ¼ black. In his later years he was supported by his son.
2. Hector Berlioz—composer, conductor, author. Prototype of the romantic composer
3. George Sand—Aurore Dupin Dudevant. Writer, linked romantically with Chopin, Liszt, and others.
4. Paganini—the inspiration to Schumann, Chopin, Liszt, and Berlioz. Virtuoso violinist
5. Lord Byron—the archetype of the romantic hero, his life is exemplified in his work, esp. Childe Harold’s Pilgrimage. Raised in Aberdeen, Scotland! Other important works include Manfred, Don Juan, Siege of Corinth, Mazeppa, Corsair, all of which inspired musical works. Linked with many women (often married) in scandalous affairs, also with his half-sister.
6. Liszt—composer, conductor, writer, pianist.
7. Marie d’Agoult—married countess who began Liszt’s lover and was the mother of his children, most importantly, Cosima. She was an author who wrote under the name Daniel Stern.

I. Romanticism

1. Origins

1. Literature, specifically the late 18th c. English novel, (Sir Walter Scott).

2. Natural outgrowth of the French Revolution

3. Beethoven life and work

a. Artist as Cultural Hero

b. Artist as subject of his/her own art

c. Incorporation of text in abstract genre

d. Utilization of an implicit or even explicit program

B. Dates

1. 1810 - ca. 1900 (based on references by writers)

2. 1789-1917 (French Revolution to WWI, the so-called “Big Century”)

C. Polarities/Dualities

1. Gargantuan vs. miniature

2. Absolute vs. programmatic

3. Rejection of Reason for Emotion

4. Development of the public audience vs. writing for a future audience

5. Rural vs. urban origins of artists and their migration to large centers

6. Nature as respite vs. mysterious and dangerous

7. Virtuoso music vs. music for amateurs

D. Other Characteristics

1. Emergence of the Virtuoso

2. Blending of genre, e.g. symphony+opera, or symphony+oratorio

3. Articulation of Roles of composer and conductor

4. Orchestral music emerges as the ideal romantic vehicle

5. ideal form was program music--combined literary/musical aspirations

E. Painters—sculpture was the ideal classical medium. Painting becomes the ideal romantic medium. (Compare pictures on pp. 402-409)

1. Delacroix—French

2. Goya—Spanish

3. Constable—English

4. J.M.W. Turner—English

5. Gericault—French

6. Fuseli—Anglo-Swiss

F. Authors

1. Sir Walter Scott—Ivanhoe

2. Philosophers—Marx, Engels, Schopenhauer, Nietzsche

3. Scientists—Pasteur, Edison

4. Goethe—especially Faust

A. Faust is the quintessential Romantic figure

1. Striving

2. Corruptible

3. Subject of opera (Gounod), overtures/symphonies (Liszt, Wagner, Mahler)

B. Goethe’s poetry and plays were set by most Romantic

Composers

5. Poets/Authors: Wordsworth, Keats, Shelley, Byron, Manzoni, Heine, Pushkin, Dickens, Bronte sisters, Tolstoy

6. Composers as authors:

A. ETA Hoffmann—major theorist of the Romantic. His stories became the the source material for Tchaikovsky’s Nutcracker and Offenbach’s The Tales of Hoffmann. He also composed an opera.

B. Schumann—editor, critic

C. Berlioz—critic, memoirist

D. Wagner—librettist, essayist, polemicist

G. Women authors

1. Aurore Dudevant (under the pen name George Sand)

2. Mary Ann Evans (under the pen name George Eliot)

3. Mary Shelley—Frankenstein, shows the fascination with horror, modern science, etc.

4. Daniel Stern