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33 Cards in this Set
- Front
- Back
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Romantic Era Dates |
1820-1900 |
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Composer (1797-1828) |
Schubert |
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Composer (1809-1847) |
Mendelssohn |
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Composer (1810-1856) |
Robert Schumann |
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Composer (1819-1896) |
Clara Wieck Schumann |
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Composer (1810-1849) |
Chopin |
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Composer (1811-1886) |
Listz |
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Composer (1803-1869) |
Berlioz |
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Composer (1833-1897) |
Johannes Brahms |
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Composer (1813-1901) |
Verdi |
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Composer (1863-1945) |
Puccini |
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Composer (1813-1883) |
Wagner |
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Composer (1860-1911) |
Mahler |
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Romantic era melody |
expansive singing melodies |
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romantic era rhythm |
rubato |
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romantic era harmony |
chromatic, expanded concepts of tonality |
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romantic era dynamics |
wider ranges |
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romantic era timbre |
more expressive, expanded orchestra |
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romantic era expression |
emotions more emphasized |
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other romantic era characteristics |
solo piano virtuosity programmatic miniature and monumental nationalism- use of forklore |
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Influences of the romantic era |
Beethoven Shakespeare Wolfgang von Goethe Paganini- virtuoso violinist |
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Forms |
strophic modified strophic through- composed song cycle |
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strophic |
same melody for each stanza |
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modified- strophic |
mostly same melody, one stanza may have different music |
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through- composed |
different music for each stanza |
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song cycle |
groups of art songs pertaining for one subject; meant to be performed as a set |
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program symphony |
several movements, each with a descriptive title. ex. Symphonie Fantastique by Berlioz |
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concert overture |
one movement usually in sonata form. modeled after the opera overture. ex. 1812 overture by Tchiakovsky Romeo and Juliet Overture- Fantasy by Tchiakovsky |
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symphonic or tone poem |
one movement, sonata, rondo, or theme and variations. invented by Liszt in the 1840s- became the most important type of program music after 1860 ex. Les Preludes by Liszt Don Juan by Richard Strauss Also sprach Zarathustra by Richard Strauss |
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nationalism |
use of country's folk music in classical works programmatic works tied to folklore and landscape ex. Moldau by smetana |
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Italian opera |
vocal line important lighter orchestration recitative and aria different librettist no leitmotivs |
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German opera |
vocal line equals orchestration full orchestration no recitative and aria: continuous was his on librettist extensive use of leitmotivs |
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Wagner's innovations |
influences harmonic language of the 20th century Total Work of Art Leitmotivs (leading motive) music drama, not operas Wagner Tuba orchestra equals the voice absence of cadences Bayreuth |
