These elements include subjectivity, emotionalism, programmatic compositions, nationalism, and chromaticism (Kauble n.p.). One notable composer was Frédéric Chopin who was fondly called the “poet of the piano”. His works showed subjectivity and emotionalism. Subjectivity refers to the emphasis on self-expression. During the Romantic Era, music was not detached from the emotions of a composer as it was in the Classical Era.
The first movement, Allegro ma non troppo, is very fiery and powerful. After an initial flourish of piano solo, the violin brings forth the main theme, a romantic, almost heroic melody. As the theme is developed fast passages create a sense of urgent drama. The middle movement is very unique because of its title Improvisation: Andante cantabile. The tranquil violin passages give the impression of improvisational material.
The shift from the Classical to the Romantic era signified a new importance on relations within the octave other than the tonic-dominant relation. Often, Romantic composers, in this case, Frederic Chopin and Felix Mendelssohn, use symmetrical divisions of the octave as a platform from which they can launch wandering or very pointed progressions, depending on the direction and magnitude of the potential harmonic energy. Whether it is a continuous circle of minor thirds or a form of axial melody that teeters much like a seesaw, these balanced relationships of pitches have a destabilizing effect on the tonic as it places a more equal weight on other intervals in the key. Not only can symmetry be found on the local levels of melody and harmonic
Minor keys are often used for sad song, as well as for passionate love songs. In Beethoven 's composition, the register is medium, whereas in Mozart 's it is high. The register is the pitching which the composition is played. The range in the two symphonies are different. While Beethoven 's range is very small, Mozart 's range is very large.
It expanded the orchestra, providing the depth on timbre. Especially in the middle of the century, with the domination of the German influences, their own-country-styled-music was started to discover by composers of the other country from Germany. The investigation evaluates how this nationalistic movements was influenced musical elements of this period. I have chosen to investigate two Romantic pieces, L’Arlesienne by Bizet and Symphony No.2 by Tchaikovsky. The both music I chose is the music that I have played in orchestra by violin before.
He left an enormous mark in the world of music, and will never be forgotten. Wolfgang Amadeus Mozart is the best composer to live and play. Even with other composers like Ludwig van Beethoven and Joseph Haydn, Mozart exceeded expectations. His musical prowess was one-of-a-kind, and he was brought up as that. His father, Leopold Mozart, was a phenomenal violinist, and great performer.
His vocal and instrumental music for court ballets gradually made him indispensable. In 1660 and 1662 he collaborated on court performances of Francesco Cavalli Xerse and Ercole amante. When Louis XIV took over the power of government in 1661, he named Lully superintendent of the royal music and music master of the royal family. Lully's music was known for its power, liveliness in its fast movements and its deep emotional character in its slower movements. Some of his most popular works are his passacailles (passacaglias) and chaconnes, which are dance movements found in many of his works such as Armide or Phaëton..
The post romanticism music has longer duration in its orchestra and more expressive melodies comparing to the music in the romantic period. Meanwhile, the music of Romeo and Juliet Suite No.2, 64B still expresses the characteristic of Romantic music, which are the sudden mood contrast and the less regular rhythm. In the first movement of “Montagues and Capulets”, the significant mood contrasts was assembled by the tempo diversity between Andante and Allegro. The introduction part of the first movement started with a moderately slow tempo of Andante with accompaniment of violin sound. It then continued with a solemn music of brass chord which depicted the conflict between the two families.
Ludwig van Beethoven was born in 1770 and died in 1827. He was one of the most influential and crucial figures in the transition period of music from the classical period to the romantic period. Beethoven composed his Pastoral Symphony in 1808 during his ‘middle period’, when his symphonies were longer than most and had heroic tunes. During the 18th century the orchestra began to increase both in size and in stature to express more emotions and create a wider variety in sound. Composers began to stray from the “set in stone” structure of the classical style and they moved towards a more “expressive and free attitude.” The pastoral Symphony has a lyrical feel to it and expresses many emotions particularly those of Beethoven’s love of nature.
3-8 Romantic 1817-1827: The establishment of new forms and a personal style which was much more Romantic on paper and in feel. Symphony No. 9 7 Beethoven is known as the developer of the symphony. His extensive development of musical material, themes and motifs usually by modulation resulted in his works being very long and expressive. He also continued to expand the “development” section of his works, adding not only length but also substance.8 This essay will set out to discuss the aspects of the symphony that Beethoven developed with regards to: the programmatic aspects of his symphonies, which instruments he used/added to the symphony (instrumentation), the structure of the symphony, his use of forms and how he used his instruments (orchestration).