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    Chapter 15 Romantic Music

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    15 views17 pages

    Chapter 15 Romantic Music

    Uploaded by

    Robert Sabin
    Chapter 15 Romantic Music

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 17
    eLearning t—sasoincren eMusic Beethoven, Ruins of ‘Athens, "Packish March’ Puccini, “O mio babbina cao,” from Glannt Schlecht k ‘www.avwnorton.com/enjoy 338 Overview: Romantic Historical Themes Musical Context Sigle Resources: Romantic Listening: Romantic Transitions: (Classical to Romantic Quizes: Romantic Reviewing 15 Glossary French Revolution The Romantic Movement - 40 The Spirit of Romanticism ‘Music, ofall the liberal arts, has the greatest influence over the pas- NAPOLEON BONAPARTE KEY POINTS The French Revolution resulted in the rise of a middle-class, or bourgeois, society. m Romantic poets and artists abandoned traditional subjects, turning instead to the passionate and the fanciful: novels explored deep human conflicts ant exotic settings. ‘The Romantic era, which grew out of the social and political upheavals that lowed the French Revolution, came into full blossom in the second quarter a the nineteenth century. The French Revolution resulted from the inevitable clash between momentous social forces. It signaled the transfer of power froma hereditary landholding aristocracy to the middle class, firmly rooted in urban commerce and industry. Like the American Revolution, this upheaval ushered in a social order shaped by the technological advances of the Industrial Revol: tion, The new society, based on free enterprise, emphasized the individual a never before. The slogan of the French Revolution—"Liberty. Equality. Eater nity”—inspired hopes and visions to which artists responded with zed. Sympathy for the oppressed, interest in simple folk and in children, faith in m ot G h st ol te it ourgeoi ng instead onflicts and rals that fol- A quarter of e inevitable ower froma ed in urban val ushered rial Revolu- adividual as lity, Brater- with zal en, faith in humankind and its destiny, all formed part of the increasingly democratic char- ater of the Romantic period. The Romantic poets rebelled against the conventional concerns of their Gassical predecessors: these poets were drawn to the fanciful, the picturesque. and the passionate. One ofthe prime traits of all Romantic artists was their em- phasis on intensely emotional expression. Another was their sense of uniqu ness, their heightened awareness of themselves as individuals apart from all others. “I am diferent from all the men I have seen,” proclaimed Jean Jacques Rousseau. “IFT am not better, at least 1 am different.” In Germany. a group of young writers created @ new kind of lyric poetry that culminated in the art of Heinrich Heine, who became a favorite poet of Romantic composers. A similar movement in France was led by Victor Hugo, its greatest prose writer, and Alphonse de Lamartine, its greatest poet. In England, the revolt against the for- malism of the Classical age produced an outpouring of lyric poetry that reached its peak in the works of Byron, Shelley, and Keats. ‘The newly won freedom of the attist proved to be a mixed blessing, Confronted by a bourgeois world indif- ferent to artistic and cultural values, artists felt more and more cut off, A new type emerged—the artist as bo- hemian, the rejected dreamer who starved in an attic and through pe- culiarities of dress and behavior shocked the bourgeois.” ternal longing, regret for the lost happiness af childhood, an indefinable di tent that gnawed at the soul—these were the ingredients of the Romantic mood. Yet the artist's pessimism had is basis in reality. It became apparent ‘The spirit ofthe French Revolution is captured in Libera Leading the People. by sugéne Delacroix (1798 1863), (The Louvre, Pars) Romantic w ‘Sympathy forthe oppressed underscored the essentially democratic character ofthe Romantic movement. Honoré Daumier (1808- 1879), The Third-Class Carriage. (Metropolitan “Museum of rt, New York) 339 ‘The nineteenth-

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