The history of music during romantic times

Choral societies first arose in the Czech Republic, in Germany, and later in other nations of Eastern and Northern Europe – tiny but widespread choral organizations. The keyboard pieces and songs that are convenient for home performance begin to take shape from these “grassroots” societies, a phenomena such as national music, and in general the musical romance, with its interest in national traditions and modest forms.

A new kind of musician, the virtuoso, arises in the period of romanticism and takes shape with a cult of his own unique adoration. As a child prodigy Niccolo Paganini, who nearly continually began his life as a tournate violinist, appealed not only to his superb playing, but to his mysterious, often lofty conduct. The first challenge of a virtuoso to a non-virtuoso was his own caprices for violin (free-form works that were made a virtuoso polished genre owing to Paganini) which every player may acquire.

A new genre for the nineteenth century – Beethoven’s light Hand forms the symphony program, that is to say, a literary programme. Beethoven is compelled to finish the Ninth Symphony in 1824 as an oratorio in the aim of making something which not only combines instrumental and vocal music, but also equalizes music and literature. The solists and webpage the choir perform “Ode to Joy” on the poet’s lines of Friedrich Schiller… It must be emphasized that previous works with names (concertos of Vivaldi, symphonies of Haydn) rely on paints or, in the best of cases, on descriptive language and lacked a literary story. In his Fantastic Symphony of 1830 he appeared immediately with Hector Berlioz: Berlioz didn’t utilize a voice but instead invited the audience to read the accompanying written text, consisting of a title and a short introduction to every movement. Felix Mendelssohn carried on these trials. He was the terrifying predecessores of Franz Liszt’s symphonic poem genre in two his openings: The Hebrides, or Fingal’s cave (1832) and the Peace of the Sea, and The Happy Voyage (1828-1834). The Romanticians did not thus develop their own vast shape, but reinvented the previous one and redecorated it with fresh content.

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