Essay II: Beginning of the Romantic Period

I.	19th Century Opera
	A.	Opera Seria
		1.	III acts, one change of scene each
		2.	6 main characters
		3.	Scenes made up of recitative w/plot, culminating in aria
		4.	Aria was metric, two stanzas, ABA structure
		5.	This was standard form until 1760's
	B.	Opera Buffa
		1.	Gained more popularity towards end of the 18th century
		2.	Less rigid structure, wider array of subjects and characters
		3.	Recitative and aria structure more varied
		4.	Ensembles of soloists also common
		5.	Characteristics of the two began to overlap by the end of the 			century.
	C.	Transitional Period Composers
		1.	The Italian Mayr wrote some 70 operas, widely performed around 			Europe		
		2. 	Used unique orchestration and coloration
		3.	"Medea in Corinto" written in French style in 1813
		4.	By this time, this style of opera was becoming dated but some 			composers clung to it.	
		5.	18th century composers such as Cherubini, Paiciello, growing old 			by second decade of 19th century.
	D.	Gioacchino Rossini
		1.	Began debuting successful operas at age of 18
		2.	La Pietra del paragon performed 53 times, Rossini became Italy's 			leading composer
		3.	He composed both serious and comic operas
		4.	Wrote 4 operas from 1814-15, including Barber of Seville which 			became one of the most popular operas of all time
		5.	Premiered in 1816, audience was very hostile towards it.
		6.	Roman crowd didn't like it because Paisiello's opera had had the 			same subject
		7.	Rossini introduced a new style of opera buffa with this opera
		8.	Both faithful to 18th century tradition and varied
		9.	Plot was similar, but there are striking difference between Rossini 			and Paisiello's versions.
		10.	Rossini's opera uses less recitative.  Simple recitative was no 			longer useful by 1816, assistants often composed it.
		11.	Rossini introduced greater degree of continuity into operas
		12.	One characteristic that sets opera apart from classical style is 			obsessive rhythmic repetition that is exhilarating and comic.
		13.	Remains faithful to spirit of genre of classical opera with sharply 			drawn comic characters, perfectly calculated pacing to contribute 			to wit and parody.
		14.	Beethoven had told Rossini to stick to opera buffa, it was his 			destiny.  However he already had and continued to produce opera 			seria as well.
		15.	Last Italian staged opera Semiramide was opera seria and 				adheres to old style of mostly recitative and some virtuosic arias.
		16.	Some lightheardedness can be found though
		17.	Rossini settled in Paris in 1824, wrote French adaptions of Italian 			works.
		18.	French government gave him lifetime annuity of 6000 Francs and 			at 37 he wrote his last opera, William Tell,  at 37, then retired for 40 			years.
		19.	Orchestra is expanded and coloratura singing abandoned, it is 			more of a French opera than an Italian one.
	E.	Donizetti and Bellini
		1.	Donizetti
			a.	Student of Mayr, wrote around 70 operas.
			b.	Eventually composed for French stage.
			c.	New generation of Italian opera writers didn't want to 					adhere to opera buffa, instead increasingly turning to opera 				seria.
			d.	Anna Bolena is representative of new style, with post 				classical plot and gruesome on stage violence.
			e.	Italian audiences became attracted to drama not of 					decorum and reason, but of strong action and passion.
			f.	Old style of recitative (now with choral interjection) and aria 				alternating is still kept
			g.	There is some unaccompanied recitative, and some which 				orchestra has very active role
			h.	Arias are very formulaic and melodies unmemorable 					though.
		2.	Bellini 
			a.	Operas also became internationally renowned eventually
			b.	Wrote 10 operas, all opera seria
			c.	Stuck to subject of hopeless love, violent death, and 					subjects based on European history or works of 					Shakespeare and Hugo.
			d.	Most well known opera today is Norma
			e.	Intense drama, and inventive music
			f.	Arioso style often used in the recitative
			g.	Melodies are often ornamented and symmetrical, as in 				"Casta Diva"
		3.	Similarities and Differences
			a.	Both make generous use of choruses during recitative and 				arioso sections
			b.	Music mostly written to offer audience pleasure of brilliant 				singing.
			c.	Donizetti had more variety in recitative, there was more
			d.	Bellini more readily breaks into arioso style
			e.	Bellini had much more variable arias
			f.	Donizetti tunes more formulatic
			g.	Bellini's decorated and expressive melodies became 				prominent in Romantic music style.
	F.	Opera in France
		1.	French opera developed independently of Italian opera, but also 			consisted of comic and serious styles.
		2.	Tragedie lyrique was official style for 100 years, developed a 			distinct form as well.
		3.	Comic opera was more strongly influenced by Italians
		4.	The idea of "rescue opera" developed in France
		5.	Opera comique often had spoken dialogue as well
		6.	There was also use of ariette, choruses, and single movement 			overtures.
		7.	This style of French opera was prominent until 1830's.
		8.	Tragedie lyrique was supervised by government and changed 			little, opera comique was able to develop
		9.	Opera comique composers provided music for republican fetes, 			festivals in which entire populace participated, vows to republican 			principles were made.
		10.	Opera of the time often had  military marches, brass, male 				choruses singing hymnic music
		11.	Cherubini best known writer of revolutionary opera
		12.	Opera Lodoiska  was strongly revolutionary, also had male choir, 			enlarged orchestra, large fire at end, showing the shape that 			French opera would take in the next decade.
		13.	Spontini was "composer to the empress" and wrote music for 			celebration of events.
		14.	Operas had enormous forces of choruses, actors, as well as 			effects.  There as also long stretches of instrumental music.
		15.	While musically it isn't particularly innovative, the sheer numbers 			in the of the chorus and the overwhelming spectacle and power 			set the standard for later opera in the 19th century, for the French 			and for composers such as Wagner.
		16.	Use of exotic lands, violent political struggle, mass crowd scenes, 			storms at sea, and musical forces became themes of French opera 			for next two decades. Laid foundation for Rossini's William Tell 			composed in this French style, as well as grand opera of 30's and 			40's.
	G.	German Romantic Opera
		1.	Before 19th century there was no set tradition of German opera.
		2.	The Singepiel was well known mid century, Mozart composed two.
		3.	There was a taste for exotic, as well as mixture of French and 			Italian styles.
		4.	The Magic Flute was Mozart's most well known work in the 19th 			century and contributed to characteristics of 19th century German 			opera.
		5.	Began class of "magic" operas that would include Weber's Der 			Freischutz
		6.	At beginning of 19th century, Italian opera had supremacy in 			Vienna, such as works of Rossini.
		7.	Schubert as Opera Writer
			a.	Schubert tried to produce German opera, composing 9 				German operas, but they were not recognized as much as 				his instrumental music and songs.
			b.	His works show allegiance to established modes of 					Viennese musical drama.
			c.	Medieval setting with enchanted musical instruments.
			d.	Characteristics of his lieds and dances can be found in 				operas
			e.	Operas had bad librettos, he say operas as plays with 				music and his music comes in short bursts reflective of 				German song.
		8.	Spohr composed Faust in Italian style to little success
		9.	Eventually gained success, Jessonda was most popular, 				also bared resemblance to Italian style, music was 					harmonically conservative.
		10.	E.T.A. Hoffman
			a.	Output as composer was little, not successful
			b.	However he became a prototype of the Romantic artist-				musician.	
			c.	Served as a conductor, painter, and composer of incidental 				music.
			d.	He lacked systematic early training in music, a malady that 				would become common to Romantic artists.
			e.	Music and painting had qualities of an amateur.
			f.	He was famous for his prose writing, specifically music 				criticism and fanciful tales and novels.
			g.	A reoccurring character was Kreisler, who represented the 				Romantic musician's sensibility.
			h.	Constantly drawn to inner visions and dreams, he would 				compose in a fevered state but at the end destroy the 				composition.
			i.	Schumann and Wagner would later become inspired by 				Hoffman's writings.
			j.	His one successful opera Undine is distinctly of the German 				Romantic genre.
			k.	Medieval setting, realistic and supernatural are mixed, 				German elements in libretto and music.  Music though is 				unremarkable and simple.
		11.	Carl Maria von Weber
			a.	Officially recognized as the originator of German Romantic 				opera.
			b.	Despite little formal music education, he showed marked 				abilities at a young age.
			c.	He also wrote prose such as music reviews and an 					autobiography
			d.	Had early success with operas that continued throughout 				his life.
			e.	His life was a realization of all Hoffman had hoped for.
			f.	Early operas contain Romantic elements from French 				opera.
			g.	Scenery has very colorful orchestration and coloring
			h.	For ten years serving as an orchestra director in Prague 				and Dresden, he didn't compose any more operas, but his 				musical thought matured due to exposure to Romantic 				aesthetic doctrine.	
			i.	Adopts German romantic qualities such as mix of fantasy 				and realism that Hoffman popularized.
			j.	Weber advocated in his prose to make a whole opera 				greater than the sum of its parts to give dramatic integrity, as 				opposed to a standard recitative-aria structure.
			k.	He also developed a sense of nationalism in German 				opera.
			l.	Der Freischutz, finished in 1821, became the quintssential 				German Romantic opera.	
			m.	Takes place in German forest, with otherworldly forces, and 				use of bullets who can magically be directed towards their 				targets.  
			n.	He is able to use many picturesque scenes, including a 				Wolf's Glen where there are instrumental effects, etc.
			o.	Used horns for tone color of the forest and hunting, with 				traditional folk melodies.
			p.	Used low register of violins, violas, and basses for "sinister" 				coloring.
			q.	In his writings on German opera, he says the foremost trait 				of German opera is eclecticism.
			r.	Takes French ideas of choruses, dances, and picturesque, 				violent outdoor scenes.
			s.	Rhythmic figure and harmonic simplicity from Italian operas.
			t.	One of most notable achievements is creating extended, 				unified musical scenes.	
			u.	At the same time, he is able to mix a lot of compositional 				methods.
			v.	Musical construction on large scale, musical themes, 				tonalities, and timbres come to represent specific dramatic 				and scenic motifs.
			w.	Later operas follow techniques used in Der Freischutz 
			x.	Gained international success, staging works in France and 				England.	
			y.	Librettos were weakness in later operas Euranthe and 				Oberon.
			z.	Oberon  has memorable overtures and arias, but there are 				many characters who don't think, dramatic events without 				music, and other anomalies to Romantic opera tradition.

		12.	German Singspiel at the end of the 18th century was 					influenced by opera comique 
		13.	In first three decades of 19th, it is fashioned after practices 				born from French opera.
		14.	Genre was short lived, ended with Wagner's Tannhauser.
		15.	However, certain characteristics such as large scale unity and 			continuity became fixtures in European operatic practice for rest of 			century.

II.	Paris from 1830 to 1848
	A.	Basic History
		1.	Napoleon had taken over all of Europe, war unrest and revolution 			for a long time.  
		2.	Congress of Vienna to prevent any future monarchs of that sort.
		3.	Revolutions by 1820 in Spain, Naples, and Ottoman.
		4.	In France, political unrest once again after Napoleon with Louis 			XVIII.  Unrest between nobility, bourgeoisie, intellectuals, laborers, 			and peasants.
		5.	Charles X tried to restore power to church, he was forced to 				abdicate and Louis Philippe, the "citizen king" took power.
		6.	Recognized shift of power to borgeoisie, appealed to bankers, 			merchants, for support.
		7.	Ultimately resulted in greater tolerance of liberal ideas in France 			than in any other nation on the continent.
	B.	Grand Opera
		1.	New government exerted immediate profound effect on arts
		2.	Theaters and opera houses populated by borgeoisie
		3.	Catered to audience's tastes, lead to sensational genre known as 			grand opera.
		4.	Librettos drew on post-classical history
		5.	Giacomo Meyerbeer's Les Huguenots in 1836 was about St. 			Bartholomew's Day massacre.
		6.	Purpose was to create great excitement and spectacle.
		7.	First developed by Spontini, etc, added grisly and terrifying events.
		8.	Sometimes supernatural in tradition of German romantic opera.
		9.	Advanced stagecraft methods for novelty and realism
		10.	Beginnings of grand opera in Spontini as well as Rossini's William 			Tell.
		11.	Wasn't in full force until 1830's though.
		12.	Les Huguenots had massacre scene, wedding procession, grand 			ball, bathing scene, drinking parties in order to cater to audience 			taste of sensationalism
		13.	Music was also grandiose, with massive choruses.
		14. 	Only one full aria, mostly made up of changing between soloists 			and choruses.
		15.	Scenes accompanied by volume contrasts and orchestral coloring.
		16.	Simple rhythms repeated in style of Rossini.
		17.	Praised in France, criticized in Germany by people such as 				Schumann who didn't like the violence and horror and dissonant 			music.
		18.	Largest orchestra in history of opera.
		19.	Dramatic contrasts in dynamics and texture
		20.	Arias had high C's and were very difficult
		21.	They didn't recognize experimental orchestra with new 				instruments and novel timbres that would influence Berlioz, 				Wagner, and Strauss.
		22.	Fervor of Les Huguenots(1838) couldn't be replicated.
		23	Grand opera confirmed France as the musical center of Europe.
		24.	All aspiring musicians now headed to Paris.
	C.	The Virtuosos
		1.	Closely related to catering to public tastes and sensationalism was 			that of virtuosos.
		2.	Nicolo Paganini
			a.	First played for Italian audiences in 1805
			b.	In 1809 he became a touring virtuoso and composer
			c.	Played with breathtaking speed, multiple stops, strange 				harmonics, left hand pizzicato, and single string playing.
			d.	Became celebrity across Europe by 1828.
			e.	Had personal manager to print parts, advertise, etc.
			f.	Played his own music to display his special technical 				strengths.
			g.	Would play concertos, variations on opera tunes, and most 				influentially, his 24 Capricci for solo violin.
			h.	Schumann and Liszt both made transcriptions of these.
			i.	Number 24 is a theme and variations with rhythmically 				active binary tune and emphasis on tonic and dominant 				chords.
			j.	Has 3 part polyphony, clarifying harmonic details.  Has to 				deal with difficult intonation on violin.
			k.	His public image was just as important as his playing.
			l.	He was pale with dark eyes, appearing of Satanic origin.
			m.	Rumors of a dark gruesome past followed him, such as a 				pact with the devil.
			n.	Benefitted from public looking for demonic quality in heroes 				of the time (Napoleon)
			o.	Took Paris by storm in 1831.
			p.	Played 10 times in five weeks to critical acclaim.
			q.	His compositions had standard harmony and 						instrumentation, his compositions were just tools for his 				playing.
			r.	Put strings under high tension and purposely broke them 				until there was only one string to play on.
			s.	Caprices so difficult that nobody can play all of them live 				today.
			t.	Lead to more virtuosos arriving in Paris from Eastern 					Europe, most notably Liszt in 1823 at 11.
			u.	Chopin arrived in 1831
			t.	Since opera was center of French musical life, virtuosos 				played famous opera tunes, especially on piano.
			v.	Pianists played at concerts and salons variations, fantasias, 				and rondos on Rossini and Meyerbeer works and sold it for 				people to play.
			w.	Virtuosos such as Thalberg praised by Berlioz for full sound 				and resource of playing, helped by development of piano.
			x.	Piano virtuosos just like grand opera were heavily 					commercialized.	
			y.	Many piano virtuosos went into piano manufacturing.
	D.	Liszt
		1.	Often regarded as greatest pianist of all time
		2.	Debut in Paris at 12, he'd already composed rondos, variations, 			etc
		3.	After arriving in Paris, had very little in the way of formal lessons
		4.	Originally wrote standard virtuosic pieces
		5.	Liszt was stunned by Paganini in 1831, it inspired him to practice 			even more and do what Paganini did on violin on piano
		6.	He worked on variations of a Paganini theme, as well as 				transcriptions of Paganini's 24 violin caprices.
		7.	Liszt introduced difficult and innovative piano techniques
		8.	Liszt was premier Parisian virtuoso by 1830's, toured in England 			as well, and faced off with Thalberg in a contest at a salon.
		9.	Toured across Europe from 1838-47.
		10.	He introduced new transcriptions such as Lieder by Beethoven 			and Schubert, and Berlioz's Symphonie Fantastique.
		11.	Later transcribed overtures to William Tell, Oberon, Freischutz, 			Tannhauser.
		12.	Showed solo piano could rival the power of an orchestra
		13.	Eventually did away with playing with an orchestra altogether.
		14.	Also performed works by Scarlatti, Beethoven, Weber, Bach, 			Handel.
		15.	Showed a shift from typical 19th century virtuoso who wrote music 			to show off his skill, moving to serious presentation of serious 			composers.
		16.	Became an interpreter of music as well, characteristic of the later 			18th century and 19th century.
		17.	Liszt commonly associated with other Romantic writers, painters, 			and composers.
		18.	Liszt like Paganini had the image of the Romantic hero, 				mysterious, sickly, marks of association with a dark other world.
		19.	Liszt was also a writer of prose.
		20.	He increasingly associated his music with literary ideas and 			images due to his associations with other arts.
		21.	Some of his later music borders on atonality.
		22.	Inventive tonality, abrupt tonal shift
		23.	Wrote about romantic idea of musical expressiveness, that music 			without words can't have a precise meaning, but impressions or 			feelings it evokes have analogues with human activity in language 			and visual arts.
		24.	B Minor Sonata not literary evocative, but is combined in one 			moment, has both structural unity and dramatic power.
	E.	Chopin
		1.	Chopin from Poland, arrived in Paris in 1831
		2.	Attached to Polish culture with polonaises and mazurkas.
		3.	Chopin had systematic general and musical education at Warsaw 			Conservatory, one of few Romantic composers with a formal 			education.
		4.	At conservatory environment he developed quickly and had over 			50 piano compositions by the time he got to Paris.
		5.	His playing was much more delicate and subtle, better suited to 			the salons then to the stage.
		6.	Wasn't in the public spotlight like Liszt and Thalberg.
		7.	Due to 1848 revolution, aristocracy that provided Chopin with 			livelihood was in disarray, in bad health he died in 1849.
		8.	Mostly wrote keyboard music for his own playing.
		9.	He wrote very few multi movement sonatas
		10.	Known for his 24 preludes and 2 sets of etudes, as well as 				Mazurkas, Polonaise, and Austrian Waltz.  24 preludes in all keys, 			are more than just excersiese, but music that speaks to the 				listener.
		11.	Liszt was able to sightread his etudes at full tempo
		12.	His "serious" multi-movement pieces have been criticized, he 			succeeded more at single-movement compositions like many of 			his peers.
		13.	Little development of structure, harmony, interplay in concertos, 			they're more for playing live in his own style.
		14.	Sonata in B Minor famous for funeral march, with dotted rhythms in 			tradition of Revolutionary funeral marches and Beethoven's 			sonata and Eroica.
		15.	Last movement is controversial because it is only a minute and a 			half and has no distinct melody.
		16.	However, it is well liked by the public and pianists today because 			of the ornamented melodies and famous accompaniments.
		17.	He makes the most of romantic piano sonority.
		18.	Chopin's sets of etudes are both brilliant and difficult, but also 			interesting musically.
		19.	He manages to shift from complex chromatic and octave runs to 			expressive slow sections seamlessly.
		20.	Etudes were very short, often just explored one musical idea.
		21.	He also turned polonaises into a virtuosic composition.  Evoke 			spirit of the dances, but not for the purpose of dancing
		22.	Also significantly developed mazurkas from folk models into a very 			stylized, abstract, and advanced idea.
		23.	Also composed first set of pieces called "ballades", a reference to 			the English or German genre of ballad.
		24.	Raised level of simple dances and etudes to public art
		25.	Chopin's career different than Liszt because he didn't perform on 			concert stage and instead addressed the public through printing 			musical works.
		26.	His reputation rested on being a celebrity of the salons and being 			the favorite of a society that set European fashion.
		27.	Chopin introduced to George Sand who dressed like a man, 			couldn't stand her at first but I guess they got together eventually 			and she was the man in the relationship.
		28.	Liszt and Chopin, both lots of scandal in their lives, added to 			sensationalism of the time.
		29.	Chopin is unique because over 90% of his music is still in the 			active repertoire, more than Bach, Mozart, or Beethoven.  He was 			able to reach people, command emotions with his music.
	F.	French Romanticism
		1.	Didn't emerge until 19th century due to isolation and influence of 			academics, as well as perpetual political and social upheaval
		2.	Writers and thinkers were either killed, exiled, or absorbed in 			politics.
		3.	Victor Hugo challenged classical ideas of language and manners 			and developed a following of arrests, writers, and musicians such 			as Berlioz and Liszt.
		4.	Music didn't have to challenge classical standards as much 				because opera had long been highly dramatic and exempt of 			these standards.
		5.	Shakespeare rose to popularity in French Romanticism
		6.	Beethoven became known in Paris in 1820's, had similar 				reputation of extravagance and disorder that Shakespeare had 
		7.	Governments, aristocracy, and church no longer patrons of the 			arts, inspiration had to come from within
	G.	Berlioz
		1.	Popularity of Beethoven during this time lead to inspiration of 			young composers such as Berlioz
		2.	He was deeply amazed and intrigued by the works of 				Shakespeare (Romeo and Juliet) and Beethoven at a similar time 			(3rd and 5th)
		3.	Campaigned in favor of composers such as Beethoven, Weber 			and Gluck, became spokesperson for Romaticism in France.
		4.	Originally medical student, then went to Paris Conservatory 				instead.
		5.	Also was in music journalism, eventually putting together books of 			his writings.	
		6.	Had trouble fitting into institutionalized music life at Paris 				Conservatory under Carubinni
		7.	Berlioz constantly was working on operas as well, but these for the 			most part weren't successful.
		8.	Les Troyenes was revived in 1970's, shows ability for pictorial, 			expressive music  
		9.	Developed other means of expression such as cantatas, scenes, 			programmatic overtures, and symphonies with text and voices.\		10.	Most of his works have literary texts or associations.
		11.	Symphonie Fantastique
			a.	Most well known programmatic work by Berlioz
			b.	Audience given leaflets with the story, this was new
			c.	Story tells of man who has fallen in love, tormented by 				visions of his beloved at a ball, in the country, at his 					execution, and at a Witche's Sabbath while under the 				influence of opium.
			d.	Autobiographical associations of his love with Harriet 				Smithson who was an actor he'd seen in performance of 				Shakespeare in 1827.  He had not met her at the time of the 				debut of the piece.
			e.	Appearance of the beloved represented with a melody that 				reoccurs in each movement…the idee fixe
			f.	Onomatopoeic devices also used to imitate nonmusical 				sounds.
			g.	Most famously is stroke of guillotine in Mvt. 4
			h.	First movement starts slow and dreamily before picking up, 				beginning the fantasy.  Represents flux of emotions and 				torment
			h.	Second movement has a waltz, unusual for the time.  				Unique orchestration such as harps, no form
			i.	pastoral, very long, no form, third swiss cowherds call
			j.	March to the scaffold…timpani at minor 3rd, melody of 				descending scale, strangely joyful for a march to the death
			k.	Witches sabbath last with the Dies Irae, tremolo for effect, 				same form as the last movement of Beethoven's 9th.  Idee 				fixe grotesquely transformed.
			l.	Music not intended to represented abstraction, but passions 				and feelings.
			m.	Music seen as expression of feelings, it can't convey 					scenes, events, or people, but can convey emotions 					associated with them.
			n.	Another quality was unique orchestration of the piece with 				idee fixe, representing the obsession of the narrator played 				in many different instrumental contexts
			o	Before, unique orchestration was used for dramatic effect, 				but Berlioz integrated it into his entire composition.
			p.	Berlioz continuously revised the prose and the piece.
			q.	Only original version left is Liszt's transcription, Berlioz said 				Liszt exceeded the effect of the orchestra with his 					composition
			r.	Whole piece meant to be a dream, fantasy.  Very romantic 				concept.  "fantasies" of waltz, execution, dance, not the 				actual thing.
		12.	Berlioz put on his own elaborate and controversial concerts, which 			fared better outside of Paris.
		13.	After 1848, there were few opportunities in Paris and he died poor 			and obscure in 1868.
		14.	He was interested by Goethe's Faust (most influential Romantic 			poem) and put on Damnation of 	Faust in 1846.
		15.	Again, orchestra expression and chorus are important.
		16.	Shows sensitivity to way music can be associated with scenes, 			ideas, and emotions.
		17.	Berlioz was one of the few people to write an orchestration book, 			going as far as to discuss materials to put on drums

III.	Schumann and His German Contemporaries
	A.	Robert Schumann
		1.	Decided to pursue musical career in 1830
		2.	Obsessive, bordeline schizophrenic
		3.	Ended up getting syphilis from too much sex
		4.	Saw French music as superficial and comic, held the idea that 			German music should be different than the French and should be 			taken more seriously.
		5.	Wieck promised to make him a great pianist in three years even 			though Schumann had never had any formal education in piano or 			performing
		6.	Also lacked early training of many Romantic composers though
		7. 	Also very interested in literature, published review of Chopin in a 			very novelistic way.
		8.	Continued unorthodox review for other journals
		9.	Since Beethoven, Schumann felt German concert and opera had 			been contaminated with superficial foreign music such as Italian 			and French opera and Parisian piano virtuosos
		10.	Schumann and like minded friends founded the New Journal for 			Music to try to popularize German national music.
		11.	Like Berlioz, admired for much of his career as an author.
		12.	By 1831, he couldn't become a virtuoso due to partial paralysis of 			his hand.
		13.	Career as a composer and critic was taking off though
		14.	Most of his famous piano pieces written in 1830's
		15.	In Papillons,  shows example of his way of creating larger 				compositions out of smaller pieces
		16.	Consists of many short movements bound together by thematic 			and tonal connection, but also with contrasts of key
		17.	Most follow theme of different dances at a ball metrically.
		18.	Carnaval
			a.	20 titled programmatic movements
			b.	Characterizations of famous figures such as Paganini and 				Chopin and imitation of their style
			c.	All compositions are based on the same set of four notes.
			d.	Carnaval's ideas are longer and more developed then in 				Papillons.
			e.	There are still the same prevalence of dance meters				f.	Invention is the shape of the pattern s of notes over the 				ordinary dance textures.
			g.	Rhythmic displacement prevalent in this piece and 					Schumann works as a whole
			h.	His multiple personalities are displayed in this piece
			i.	All has a very personal meaning to him that the public didn't 				necessarily understand.
			j.	March at the end symbolizes march of the German 					brotherhood against superficiality of the French.
		19.	Schumann commented that little had been with the piano sonata 			since Beethoven, and that only lesser known composers wrote 			them.
		20.	He often composed sonata movements separate from one another 			and they alternate between leisurely and without momentum, and 			tight knit and formally adherent to the genre.
		21.	Much of the interest of his music is in keyboard textures, such as 			chord spacing, inversions, and arpeggiation.
		22.	Journal became principle written source for Romantic music in 			Germany in 1830's
		23.	He wrote 23 opuses worth of piano music in this time
		24.	He became absorbed in love for Clara Wieck, his teachers 				daughter who was 9 years youngr who was becoming an 				internationally famous pianist.  Despite her father's opposition they 			married September 1840.
		25.	In 1840 he switched to songwriting, writing 125 songs, inspired to 			write love lyrics by his recent marriage
		26.	Also because he had assumed development of Romantic music 			would be through forms Beethoven used such as sonata, 				symphony and quartet, but these weren't developing quickly, so he 			shifted to other forms instead.
		27.	Set of songs has little poetic or musical unity
		25.	Later song cycles have greater unity of form and theme
		28.	"Monde Nacht" uses piano to represent moon beams, same motif 			used in many contexts.
		29.	Emphasized importance of the piano in his songs
		28.	Introduced intensified and flexible accompaniment and enriched 			harmonic language to the lied, carrying it to new levels.
		29.	Brought into mainstream of Romantic composition, said by 				Schumann to be only form with significant progress since 				Beethoven.
		30.	Symphonies
			a.	Put on first performance of Schubert's great C Major 					Symphony in 1839, saw it as one of the few large 					compositions in genuinely romantic style.
			b.	Ended up beginning symphony composition himself, 					producing half of his symphonies in 1841.  Also forced to 				compose large scale compositions to support Clara.
			c.	The orchestrations of his works are troubling, often 					reworked by conductors, especially his 3rd and 4th where 				the woodwinds double the strings.
			d.	He used thick orchestration to cover up ability of orchestra 				he conducted.
			e.	First and fourth have more variety with some light textures 				and woodwind color.
			f.	First symphony is surprisingly good, with motivic basis for a 				tight knit movement.
			g.	Good use of melody and color in later movements, however 				they don't really go anywhere or tread new ground.
			h.	Finale has too much repetition of rhythm that Schumann 				often suffered from.
			i.	Ultimately, his symphonies are too static and transitions 				take too long.
		31.	Chamber Music
			a.	The following year he wrote three String Quartets, piano 				quartet, piano quintet
			b.	Piano compositions considered the most successful
		32.	Piano Concerto in A Minor
			a.	Written for his wife to play
			b.	Established him as major composer of era
			c.	Motifs interconnected perfectly
			d.	COnsidered one of the most romantic piano concertos with 				rigorously controlled form mixed with outwardly warm 				human emotion.
			e.	No virtuosity, the piano is an equal to the orchestra
			f.	Goal to establish new taste and level for German music
		33.	Appointed at Leipzig Conservatory but began suffering severe 			mental disturbances.  Committed to mental hospital in 1850 and 			died in 1856.	
		34. 	Archetypal Romantic musician, making biggest contributions at a 			young age, contributing most to smaller forms, he'd never been 			taught larger forms.  He also hid interesting stuff layered under his 			music
		35.	He was a melodist, not a motif developer.  He was also a mater at 			harmonization.
	B.	Mendelssohn
		1.	Former child prodigy, family provided best in education, travel, and 			contacts at a very young age.
		2.	Zeiter taught him figured bas, chorale harmonization, counterpoint, 			canon, and fugue, derived from J.S. Bach.
		3.	Received an 18th century style music education, often reflected in 			conservatism of music.
		4.	At 26, had already written operas, symphonies, overtures, 				concertos, etc
		5.	Overture to a Midsummer Night's Dream
			a.	Most famous work, finished at 17.
			b.	Very programmatic, with pianissimo violin figures 					representing different characters, donkey sounds, etc
			c.	All very light, representing the enchanted world of 					Shakespeare.
			d.	All the melodies are unified
			e.	Fits into sonata allegro structure, regular meter, and 18th 				century style orchestra.
			f.	Had full compositional talents at only 17.
			g.	Inadvertently introduced genre of the programmatic concert 				overture.
		6.	Fingal's Cave
			a.  	Displays mastery of illustrative music, attractive melodies, 				and mastery of instrumentation.
			b.	Modulation of second subject
			c.	Wrote themes based on undulating of water in storm and 				the feeling of being in the cave.  Not programatic, just based 				on evocation of feelings.
			d.	Imagery fit in during development
			e.	Crescendo and diminuendo to simulate waves
		7.	Wrote 4 mature symphonies, with Italian remaining in the current 			repertoire.  Inspired by his trip to Italy, it continues his model of 			formal and metrical orderliness.
		8.	Lobgesang indebted to Beethoven's 9th with an oratoriolike 			structure for the last movement.
		9.	Elijah
			a.	Oratorio,wanted to emphasize drama of the story
			b.	WRitten in 1845, premiered in 1846, was a success
			c.	Revised it the following spring
			d.	Very dramatic story about ELijah needing to convince 				people of Israel not to worship a false god.
			e.	Grand opera inspired Mendelssohn to make the story as 				dramatic as possible
			f.	Able to apply principles of grand opera to a romantic					 oratorio, mix with elements of Bach chorale
			g.	Made it possible for any chorus to sing
			h.	Mendelssohn and Spohr brought oratorio back to life by 				composing in Romantic style.
		10.	His qualities of facility in part writing and idiomatic handling of 			instruments also present in his chamber music.
		11.	Easy to underestimate Mendelssohn's importance today as he 			was a conductor who traveled across Europe, and in demand 			pianist, and highly gifted composer, but his regularity of style made 			his music overshadowed by the expressiveness of Wagner by the 			end of the century.
		12.	Rare character in romantic period, no social or emotional 				problems, no huge ego, classically trained.
		13.	However he died young from overwork and grief from the death of 			his sister.
		14.	Mendelssohn had been strict and proper piano player, didn't 			pander to audience like Liszt.  He didn't use rubato and as a result 			didn't interpret Beethoven.
		15.	Became friends with Schumann and advocated seriousness of 			German music and avoiding excessive virtuosity of French music.
		16.	E minor concerto
			a.	Friends with Ferdinand David, famous violinist who he 				consulted while composing
			b.	First movement very concise, theme introduced immediately 				and the piece perfectly follows sonata form
			c.	Cadenza placed after development before recapitulation
			d.	Movements flow together so they can't be played 					separately.
			e.	Beethovinian tonic triad opens piece
			f.	Violin introduces theme before orchestra
			g.	Not intended to be overly virtuosic, just beautiful
			h.	Orchestra transitions to the second subject
			i.	Creates system of cues to transition subjects by ascending 				violin to a really high note.
	C.	In Conclusion
		1.	Political uprisings began to occur mid century 
		2.	German music tradition had looked to Beethoven and Bach for 			models, but the symphony and sonatas were no longer very 			viable.
		3.	The Lied and character pieces for piano had peaked in popularity 			as well.
		4. 	The opera however, had not been developed since Weber.
		5.	German nationalism was growing, as the most significant 				developments in German music would next occur in opera.
IV.	Wagner and the Music Drama
	A.	Intro
		1.	After Der Freischutz, German opera stagnated and was only in 			court theaters.
		2.	Spohr's operas were somewhat heard
		3,	Marschner was also somewhat  successful and characteristic of 			German romantic opera.
		4.	Also comic operas in style of Rossini put out
	B.	Early Years
		1.	Born into theatrical family, interested in drama and literature
		2.	Wasn't for some time that he studied music, learning harmony and 			counterpoint.
		3.	By 1829 he had 2 symphonies, four concert overtures, piano 			sonatas.
		4.	Early works lacked direction, theme, form, etc
		5.	He idolized Weber from a very young age
		6.	He was a musical director for small cities conducting standard 			repertoire such as Rossini, Bellini, Cherubini, Weber, and 				Marschner.
		7.	Earliest work Die Feen is imitation of the styles he knew, 				particularly modeled after Weber.
		8.	Das Liebesverbot is in Italian style, at which the same time he 			wrote praise for Italian vocal writing, singing, and characterization.
		9.	He would later write about centrality of German nation in art.
		10.	He had to escape debtors in Germany and went to Paris to try to 			get Rienzi, in style of grand opera and Spontini, produced.
	C.	The Flying Dutchman
		1.	First opera to display growing originality and dramatic power
		2.	More in style of German Romantic opera
		3.	About a captain condemned to wander the oceans and can come 			to shore every 7 years, can be set free by the love of a maiden.
		4.	Elements of supernatural and a unique setting necessary for the 			genre.
		5.	Sailors songs and choruses are included.
		6.	Features motific associations, with chromatic storm music, and a 			"redemption" theme
		7.	This idea of motific reference to characters, objects, and events 			would later be further developed by Wagner.
		8.	Line between aria and recitative is blurred
	D.	Tannhauser and Lohengren
		1.	Composed 1845 and 1848
		2.	Tannhauser sticks to medieval legend idea with picturesque 			setting, is designated a "romantic opera"
		3.	Some qualities of grand opera as well
		4.	Expanding harmonic technique with greater chromatic motion.
		5.	Sense of musical characterization is strengthened, characters 			have their own melodies and textures.	
		6.	Lohenren also a "romantic opera", combining elements of grand 			opera and set in a medieval setting.
		7.	Flow of the opera has improved here
		8.	Musical motives with elements is extended.
		9.	Theme for "unconditional love"
		10.	Musically it is conservative though
		11.	Premier delayed by Dresden Revolution that Wagner participated 			in and was forced to flee with aid of Liszt.
		12.	Liszt eventually put on the premier of it, he did a lot to help out 			Wagner because he believed in his talent.
	E.	Middle Years
		1.	Wrote no music from 1849 to 1853, but wrote the poems to go with 			the ring cycle, as well as essays on theory about society, politics, 			art, and music.
		2.	Fell under revolutionary fervor
		3.	Wrote about how dance, tone, and poetry correspond to vision, 			hearing, and intellect.	
		4.	Greatest potential reached when these act together, such as in 			Beethoven's 9th.
		5.	Many of his thoughts were confused and incongruous
		6.	He singled out Christianity and Judaism as degradating to art.
		7.	His views were often influenced by his own needs and concerns
		8.	Writes about opera as uniting the constituent arts of poetry, music 			and dance, as well as the subject of the drama being myth.
		9.	Best known feature of Wagner's later works is the leitmotif, which 			events persons objects ideas in drama are signaled by specific 			motifs
	F.	The Ring of the Nibelung
		1.	Theory on poetry in Opera and Drama revolves around the 				beginning of his monumental Ring Cycle.
		2.	Worked on while in Zurich, 4 librettos finished by 1853 for Die 			Walkure, Das Rheingold, Gotterdammerung, and Siegfried.
		3.	Over the next four years he finished the music to the operas.
		4.	Didn't finish Gotterdammerung until 1974.
		5.	The story made up of Germanic gods and creates, characteristic of 			German surrealism.
		6.	Music of the ring is a unified whole with musical motifs used from 			beginning to end in a uniform style.
		7.	Vocal writing between melody and counterpoint while the 				orchestra remains powerful, flexible, vividly expressive
		8.	Chromaticism widely used in a system that remains tonal.
		9.	Short poetic lines used for lyrics
		10.	Wide degree of modulations used
		11.	Mature harmonic style described as chromatic, expanding on 			usual diatonic relationships while remaining tonal.
		12.	Delays arrival of tonic with parenthetical sonorities
		13.	Eventually key of E emerges as clear en
		14.	Leitmotifs are used both obviously and subtly
		15.	They also undergo development, transformation, and combination 			expected in a large scale composition
		16.	Size of orchestra for this work is very large with extended brass 			and wind sections
		17.	Very inventive and flexible, going from overpowering to delicate, 			influenced by Berlioz and Meyerbeer
	G.	Tristan Und Isolde
		1.	Set about it in 1857 when he stopped working on the Ring
		2.	Drew upon a medieval love story
		3.	They both die at the end
		4.	Becomes more of a psychological drama than action based
		5.	The size of the composition grew into something very profound
		6.	Composition coincided with his affair with Mathilde
		7.	Music is an extension of the stylistic innovations of the Ring.
		8.	Character motives are developed and transformed more than 			ever.
		9.	Single melodic ideas continue for pages
		10.	Tonality advanced to the point where there is a specific "Tristan 			chord" in the composition resolved chromatically.
		11.	Prelude starts with a slow languishing effect and rhythmic 				expressiveness.
		12.	After it was completed, he had 3 1/2 operas that probably wouldn't 			be performed.
		13.	Tannhauser was finally performed in Paris in 1861 and was booed 			because some of the audience missed the ballet.
	H.	Der Meistersinger
		1.	Written amongst times of trouble in 1861-1862
		2.	Started at modest proportions, grew to over five hours long
		3.	Doesn't resemble other mature works, libretto is historic and 			comic, there's arialike singing and diatonic harmony
		4.	Pays tribute to tradition in art and the foundations of innovation.
	I.	Later Triumphs
		1.	In 1864, he found a prince to pay off his debts and give him an 			annuity, and he went about finishing the Ring.
		2.	Also launched plans for a theater for its performance, and 				founding of a German Music School
		3.	Finished operas and had the theatre finished in 1873 where the 			full Ring Cycle was performed in August 1876.
		4.	Wagner finished Parsifal one year before his death.
		5.	Less based in overwhelming the listener and more in symbolism
		6.	Same motifs used, with chromaticism representing suffering, etc
		7.	Fame grew greatly at the end of his life, much debate about his 			work and theories and 200 Wagner Societies formed worldwide.
		8.	There was some opposition to his later works, that the subject of 			the music should be feeling.
		9.	Criticized lack of independent vocal melody, dissolution of form, 			exclusion of polyphonic vocals.
		10.	Some criticized Wagner's decadent life style.
		11.	Followers of Wagner in German opera were overshadowed by him
		12.	Wasn't until Hansel und Gretel by Humperdinck that an opera 			would strongly appeal to German public.
		13.	For the most part, Wagner's influence over German opera was like 			that of Beethoven over the symphony, his achievements were too 			formidable to match.
		14.	Also the only composer in the history of opera to write all his own 			libretti