Influences for the Beginning of the Romantic Period of Music

I.	Non-Musical Influences
	A. 	Increases in Trade and wealth throughout Europe
	B.	Lead to increase in wealth and growth of the middle class
	C.	This lead to discontent among the people due to their treatment by the 		government. 
	D.	Writing of the time voiced discontent with authority, especially with the 		church, this movement was called the Enlightenment.
	E.	Especially influential was Rousseau, inspiring the events of the French 		Revolution 
	F.	French Revolution lead to emperorhood of Napoleon, he took over most 		of Europe and his rule brought social and political changes to all of 		Europe.
II.	Music and Patronage
	A.	The arts had long operated under the patronage system, music was for 		use in court and church.
	B.	Academic societies for music began putting on public concerts in the late 		18th century in Italy.  
	C.	All around Europe, as the middle class grew, public concerts began to 		cater to middle class.
	D. 	As middle class became more wealthy, there was a growth of music 		making in the home, among the most popular was the keyboard.
	E.	Music printing began emerging too in the late 18th century.
	F.	Mozart was the first independent composer, but he ended up dying poor.
	G.	After Mozart, shift began occurring where composer was no longer a 		servant of the people, but recognized for their art.
	H.	Beethoven was not directly employed by anyone after 1792.
	I. 	After Napoleon, there were hardly any courts or churches that could 		attract important composers.
	J.	Courts had provided early training and skills were passed down for many 		generations.
	K.	19th century composers came to music later in lime and through different 		venues
	L.	A lack of early training among 19th century composers and exposure to 		common body of music lead to dissipation of a central style in favor of 		diversity during the 19th century.
III.	Musical Aesthetics
	A.	Music was regarded as a fine art by end of 18th century, all fine arts were 		in some way related.
	B.	Art was seen by some as a religion, providing access to reality that 		transcended normal existence.
	C.	Beethoven had nearly romantic views about music.  
		i.	As he was losing his hearing, he contemplated suicide
		ii. 	He chose not to due to transcendent importance of continuing his 			work as an artist, that it was his duty to express all that was within 		him
IV.	Meaning of "Romantic"
	A.	IN early 20th century, it referred to something abstract, indefinite, 			imaginative, or just modern
	B.	Recognized as a style by artists in 30's and 40's characterized by the 		original, unique, extreme expressiveness, enrichment of harmony, and 		new figures, textures, and tones colors.
	C.	Romantic often seen as the opposite of classic, but movement is more 		complicated than just a response to the classical period.
	D.	The two periods in many ways overlap
	E.	In music, there was never an organized romantic style, it was just a time 		period
V.	Beethoven in Vienna, 1792-1808
	A.	Considered by some to be a romantic, not to be others, but undoubtedly 		paved the way for the romantic movement.
	B.	Early/Mid Period Innovations Contributing to Romanticism
		i.	Modulation to non-Dominant keys, particularly tertian relations
		ii.	Modulation based on common tones
		iii.	Use of hemiola and rhythmic interruption to distort sense of meter
		iv.	Expansion of sonata form, continuous reference to theme and 			deviation from standard sonata form
		v.	Emotional expression takes precedence over form
		vi.	Harmonies threaten limits of the tonal system
		vii.	Chord changes that are seemingly random
		viii.	Huge contrasts between movements
		ix.	Reference to sections from previous movements
		x.	Highly contrasting dynamics
		xi.	Disjunct melodic lines
 	C.	Early history in Vienna
		i.	Moved in 1792 to pursue career in composition and piano
		ii.	Studied under Haydn, Albrechtsberger, and Salieri.  Didn't like 			learning under Haydn.
		iii.	Became known among Viennese aristocracy for his virtuosity and 			improvisation on his own pieces, often breaking pianos while 			playing
		iv.	Wasn't knowledgeable in court mannerisms, gradually grew more 			independent of court lifestyle
		v.	His early music was accessible because it had a unique style, but 			not enough to cause repulsion among the public
	D.	Early Piano Sonatas
		i.	Beethoven's innovative ideas first emerged in his piano music
		ii.	Piano sonata best represents the development of his style
		iii.	Often wanted dampers off the strings for entire piece, leading to an 			uniquely blurred atmosphere.
		iv.	With compromised hearing, he often forgot limits of piano and 			would put hands at opposite sides of piano, making them difficult 			to balance.
		v.	Piano Quartet in C, Opus 2 
			a.	Redid an old string quartet of his, changed the standard 				form into something more dramatic.
			b.	Made the theme more distinctive
		vi.	Pathetique Sonata-use of murky bass to blur tone
		vii.	Sonata Opus 26
			a.	Beginning with Andante theme and variations
			b.	Funeral march instead of slow movement
		viii.	Announced he was going about a "new way" in 1800
	E.	String Quartet Opus 18 No. 6
		i.	Modeled after Mozart's later string quartets
		ii.	Last movement of 6th quartet adds adagio intro to allegro finale
		iii.	"La Malincolia", pushes the limits of the tonal system
		iv.	Alternating loud and quiet chords
		v.	Extreme register shifts
		vi. 	Tonal chaos without complete lack of structure
	F.	Early Symphonies
		i.	1st: Throws audience off guard by starting with 3 7th chord 				cadences
		ii.	Modulation is unorthodox and caught people off guard
		iii.	Form is predicable and transitions are smooth
		iv.	Beethoven understood what tastes of the day would tolerate, but 			had tricks that would build suspense and cause deception
		v.	He avoided making anything insulting to taste or playing ability
	G.	The Tempest Sonata, Opus 31, No. 2
		i. 	Violent contrasts become explicit principle of structure
		ii.	Opus 31 indicative of Beethoven's "new way"
		iii.	Beethoven places Largo and Allegro sections side by side.
		iv.	Rapidly and unpredictable key changes
		v.	Has very improvisatory feel to it.
		vi.	Modulation to non-standard keys
		vii.	Intro is included in restatement
		viii.	Alternation between Allegro and Largo is a constant idea 				throughout the piece
		ix. 	Pattern of a low register arpeggio and high register line is 				continued throughout the other movements
	H.	Beethoven had a period of great productivity in 1802 and the years 		afterwards.  
	I.	The Eroica Symphony
		a.	Set standard for large scale instrumental pieces for the rest of the 			century, which would inspire followers
		b.	Considered largest and most difficult symphony to that point
		c.	First piece to challenge the public's listening and playing abilities
		d.	Symphony was an hour long, much longer than standard 20-30 			minute symphony of the time
		e.	Exposition of first movement is very motific and fragmented, never 			a complete melody
		f.	There are also a lot of motifs introduced, but few full ideas
		g.	Also there is disruption of meter and use of hemiola
		h.	However, phrasing is standard and in four measure sections
		i.	Development actually introduces a new melody, on oboe
		j.	End of piece has coda almost as long as exposition, and 				completes the motifs originally introduced and releases tension of 			incomplete melodies.
		k.	Funeral March was second movement, was recognized because it 			was modeled after marches of Napoleonic era
		l.	Based on a march by Gossec "Marche lugubre"
		m.	Very slow tempo, minor mode, drumrolls, dotted rhythms
		n.	Secondary motifs are introduced in tertian instead of dominant 			relationships
		o.	Finale is country dance based on melody he wrote as a teenager
		p.	Symphony was originally supposed to celebrate Napoleon, but 			Beethoven became disillusioned when he found out Napoleon 			crowned himself Emperor.  
	J.	Fidelio
		a.	Production occurred during French occupation of Vienna when 			nobility was forced to leave
		b.	Played to mostly empty houses of French soldiers
		c.	Plot of the opera is based on a prison escape
		d.	Dramatic development of opera criticized for  lack of plot 				development and character development
		e.  	He was persuaded to revise it in 1806, still was not satisfied and in 			1814 performed a new revised version that is the most well known 			today
		f.	Fidelio took a lot of effort and pain and he never wrote another 			opera.
		g.	Most important legacy of the opera is its instrumental music
		h.	He composed a total of 4 overtures for the various versions
		i.	2 and 3 were too overwhelming to serve purpose of introducing an 			opera, but still important in his works.
		j.	Beethoven was unfamiliar with form of opera and with purpose of 			overture and had difficulty holding audiences attention when 			overture extended for too long.
V.	Beethoven's Later Years, 1809-27
	A.	Beethoven was essentially completely deaf from 1816 onwards.
	B.	His 40s were much less productive than his 30s
	C.	He had finished the 7th and 8th symphonies and wouldn't finish another 		major composition until 1823
	D.	In 1819 he never even published anything
	E.	Fifth Symphony continued in vein of the 3rd with heavy crescendos and 		heroic sense.  It is based entirely on a single four note motif.
	F.	Sixth symphony
		a.	Completed same year as 5th
		b.	"Pastorale", use of programmatic titles, first break from abstract 			formality of the symphony
		c.	Invokes images of nature
		d.	Gets effect with repetition of quiet motifs
	G.	7th has the feel of his 3rd and 5th, while 8th is much slighter and 			Haydnesque
	H.	Wellington's Victory
		a.	Wrote to celebrate defeat of Napoleon
		b.	Collaboartion with Malzel, inventor of many mechanical devices
		c.	Designed for one of Malzel's instruments, but rewritten for 				orchestra
		d.	Intentionally an absurd piece, with mix of battle music, patriotic 			songs, etc
		e. 	Was Beethoven's most popular piece with the shallow Viennese 			public
	I.	Produced other "occasional" music that was popular with the Viennese 		public
	J.	Formation of Beethoven's Late style
		a.	Again major changes first signaled in his keyboard music
		b.	Opus 90 E minor has muted dynamics, ornamentation, reflective 			tranquility
		c.	Second Sonata for Cello and Piano features fugue section derived 			from baroque counterpoint, characteristic of Beethoven's later 			period
		d.	Mozart, Haydn, and Clementi had all also studied fugue in their 			later years
		e.	Many other late piano sonatas and string quartets contained 			extensive use of counterpoint
		f.	Hammerklavier Sonata ends with one of most difficult fugues ever 			composed
		g.	Fugue and counterpoint were important to Beethoven's 				composition for the rest of his life
		h.	He both expands and contrasts sonata form.
		i.	At this point, he was writing for himself, not for others, showing a 			major change in aesthetic viewpoint important to the romantic 			period.
		j.	Continues with freedom of form and interest in motifs, with very 			long pieces based on one motif, transformed across movements.
	K.	The Diabelli Variations
		a.	Beethoven was also fascinated with variations during his later 			years
		b.	Based on Diabelli's waltz melody that he had asked several 			composers to write variations for
		c.	Melody stuck with Beethoven and he ended up with 35 variations, 			making the theme original
		d.	Some variations include counterpoint
		e.	Tonality becomes very obscured by nonharmonic pitches
		f.	Modulations are very abrupt
	L.	Development of fugue and variations showed extremes in style, fugue 		was very strict and dry, variations was unrestricted
	M.	Sizes of all forms he used: sonata, variations and fugue, reached 			extremes.  
		a.	Piano Sonata Opus 109 exposition just 16 measures
		b.	Diabelli Variations and Grosse Fugue very large
	N.	Boundaries between forms are blurred
		a.	Theme and variations appear in sonatas
		b.	Fugues develop motifs associated with sonatas
	O.	Missa Solemnis
		a.	Four soloists, chorus and orchestra
		b.	He had to study older music such as polyphonic masses, church 			modes, medieval plainsong
		c.	Beethoven struggled with these unfamiliar genres.
		d.	Fugue at the end of Gloria is very complex 
	P.	Ninth Symphony
		a.	The second monumental work of Beethoven's later life
		b.	First three movements are "traditional", fourth movement features 			an enormous choir
		c.	Opens movement with unresolved dissonances to represent 			tensions of mankind
		d.	He then quotes themes from the first three movements and ends 			them abruptly
		e.	New theme is introduced on the low strings, and other instruments 			gradually join in, longest theme he's ever written.
		f.	He rejects the material of first three movements.
	
		g.	Singing begins, with text from Schiller's poem
		h.	Features variation in style of a Turkish March
		i.	Second part of Schiller's text used in second main theme
		j. 	Then, the two themes are united as if to symbolize brotherhood.
		k.	Theme of joyfulness of united brotherhood to get rid of problems of 			humanity in lyrics
		l.	Along with this humanist message, Beethoven gives the message 			of expanding the boundaries of the symphony and throwing out 			convention.
		m.	Lull near the end of the piece, then all pieces join in together as if 			the whole world is joining as one.
		n.	Movement is Intro, A theme and var, B, A+B, coda.  Berlioz was the 			first to understand this form, he used this in Symphonie 				Fantastique.
		o.	Introduction of voice into symphony followed by Mendelssohn, 			Berlioz, and Mahler, who all did the same.
		p.	Still, piece is in tradition of his past pieces, keeping "heroic" feel of 			3rd, 5th, and 7th symphonies.
		q.	Slow movement variations is distinctly late period.
	Q.	Contemporary Assessment
		a.	Beethoven was most respected composer in Europe during his 			time.		
		b.	Some of his works received criticism for their length, difficulty, 			eccentricity, bizarreness
		c.	Some critics began justifying the bizarities of his music
		d.	Music recognized as removed from normal human experience and 			mode of thought
		e.	Beethoven both created something unique and unlike anything 			before it, and something that would be followed by others for the 			whole century
		f.	He was a prototype for the romantic movement in both his music 			and personality.  
VI. Beethoven, Overall Contributions Passed to Romantic Style
	A.	Strong use of motifs
	B.	Neapolitan 6 key changes
	C.	Use of augmented chords
	D.	Looseness of meter, improvisatory style
	E.	Crescendos as a structural function building throughout the piece
	F.	Wordless recitative, making the music "talk"
	G.	Expansion and contraction of sonata form, development of other forms
	H.	Ambiguity of key
	I.	Tertian key relationship between subjects
	J.	Modal piece
	K.	Tempo, dynamic, and mood extremes
VII. Beethoven's Contemporaries
	A.	Schubert
		i.	Lived in Vienna under shadow of Beethoven
		ii.	Spent entire life in poverty, none of his biggest works were 				published
		iii.	Made a living off of publishing small works like songs, waltzes, 			marches, impromptus and musical moments..  He had total 600 			songs.
		iv.	Waltz was popular dance of the time, Schubert made most of his 			money by publishing waltzes.
		iv.	In his large scale music, he expanded on structure of sonata as 			well.  
		v.	However this large scale music remained unknown for several 			decades and wasn't any influence to early romantic composers.  			None of his 9 symphonies were heard publicly in his life.
		vi.	Had output sizable to that of Mozart or Beethoven, in only 31 			years.
		vii.	First six symphonies instrumentally and stylistically similar to 			Mozart.
		viii.	Content of music was much different than Beethoven, he made 			use of melodies over motifs and the music was much more 				repetitive and lyrical.
		ix.	Unfinished Symphony
			a.	Allegro and Andante, sketch for third movement
			b.	Much different than first 6 symphonies.
			c.	Starts with modal bass/cello melody
			d.	Features two other melodies that are made up of motifs.
			e.	Development has strong climaxes and is in imitation of style 				of Beethoven.
			f.	However, his melodies are already too finished for 					significant development like that of Beethoven.
			g.	Got idea of playing two part unified theme from Beethoven.
			h.	Genius of the symphony is not in its motific development, 				but its individual melodies, instrumental coloring, and 				harmonic turns
			i.	Much more characteristic of Schubert's music as a whole 				than Wander Fantasies.
		x.	Keyboard Pieces
			a.	Greatest contemporary to Beethoven at keyboard music as 				well.
			b.	He was not a public virtuoso like Beethoven
			c.	He wrote both music for amateur performance and large 				scale compositions.
			d.	Amateur music had charm, reflected Viennese popular 				music.
		xi.	The Lied	
			a.	Poetry pieces meant to be sung
			b.	Form was developed by mid-18th century
			c.	It was meant to be simple and strophic
			d.	In his 600 Lied, Schubert expanded the potential of the 				genre.
			e.	In Gretchen at the Spinning Wheel and  Der Erlkonig, 				Schubert greatly increases harmonic sophistication of the 				Lied.		
			f.	Both were taken from works by Goethe, who was famous for 				his philosophical poetry, specifically Faust.  Considered 				founder of the romantic movement in literature and the 				father of romanticism.
			g.	Gretchen at the Spinning Wheel was later discovered by 				Liszt, who made it famous.
		xii.	Wanderer Fantasy
			a.	Second movement begins in minor, changes to major while 				keeping negative tone to lyrics.  This technique was later 				used in Verdi operas.
			b.	Keeps a marching rhythm for the whole song
			c.	Four movement work is based on same melodic and 					rhythmic idea, with the movement as a facade.
			d.	He also uses the Beethoven tertian key relationships
			e.	Lots of really difficult fast passages.
			f.	Beethoven idea of tertian key relationships
			g.	Many of the key relationships are left unresolved.
			h.	Liszt later discovered this piece, used as inspiration for B 				minor sonata.
			i.	Most important Schubert piece in terms of influence on 				future romantic composers.
			j.	Schubert's writing was usually very melodic, but this piece 				was highly motific in an effort to compete with success of 				Beethoven.
			k.	Liszt would later create an orchestrated version which is the 				most famous version.
		xiii.	Quintet in C Major for Strings, Slow Movements
			a.	Features neither a melody or motif in the violin
			b.	Doesn't have sense of direction associated with motifs.
			c.	Very fragmented and keeps returning to same note.
			d.	Harmony continues, never breathes.
			e.	New part completely different from intro, much more 					dramatic, syncopated, and tormented.
			f.	Tension continues the whole time 
			g.	There's a recitative like part to create suspense.
			h.	Schubert and Beethoven both use idea of ascending 				melodic lines.
	B.	Rossini
		i.	Biggest figure in Italian opera
		ii.	Barber of Seville was the best known of his opera buffa
		iii.	He moved to France and received a lifetime annuity from the 			French monarchs.  He lived there until the middle of the century 			but retired, throwing parties with the most famous artists from Paris 			and composing only occasional music for these parties.
		iv.	Barber of Seville was not well received because Paiceiello had 			already done it once.
		v.	Rossini's is much better in comparison though.
		vi.	Last opera was William Tell, two versions were written, one for 			France and one for Italy.
		vii.	Rossini's style was distinguished from the classical period, he 			used rhythmic repetition for comic effect, while not significantly 			developing his pieces.  
		viii.	He used half step modulations for excitement and to allow 				performers to show off.
		ix.	His genius was being able to write for specific singers.
		x.	Popularized aria style of a slow A section and fast B section with 			recitative in between.
	C.	Bellini
		i.	Considered beginning of romantic period for level of captivating 			drama in plot.
		ii.	Recitative is used to introduce aria
		iii.	Melodic as opposed to motific
		iv.	Followed in footsteps of Rossini
		v.	Captured attention of audience with both music and drama
		vi.	Use of chorus as support for soloist instead of in between solos.