2. Romanticism – Social Context January 9 th, 2004

3. Romanticism General definition: “a movement in the arts and literature, originating in the late 18th c., characterized by a rejection of rationalism and the order and restraint of classicism and neoclassicism, favouring instead inspiration, irrationality, subjectivity, and the primacy of the individual” (Oxford) General definition: “a movement in the arts and literature, originating in the late 18th c., characterized by a rejection of rationalism and the order and restraint of classicism and neoclassicism, favouring instead inspiration, irrationality, subjectivity, and the primacy of the individual” (Oxford) Romanticism in music begins during second and third decade of nineteenth century (1810-1830) ends ca. 1900 Romanticism in music begins during second and third decade of nineteenth century (1810-1830) ends ca. 1900 No definitive date; some composers overlap No definitive date; some composers overlap

4. Social Context Mid 1700s: free enterprise; emphasis on individual Growth in trade and industry: emergence of middle class Industrial Revolution: industry instead of farming Questioning of authority and privilege: Enlightenment Climax of social movement: French Revolution (1789-99) Generally: disillusionment: arts as secular religion

5. Music, Patronage and the Public Earlier, arts mainly within realm of church/court Earlier, arts mainly within realm of church/court 19 th C: life of composers more akin to Mozart’s than that of Haydn’s 19 th C: life of composers more akin to Mozart’s than that of Haydn’s Awareness that future of European music was in the emerging middle-class public Awareness that future of European music was in the emerging middle-class public This resulted in the growth of public opera and public concerts This resulted in the growth of public opera and public concerts This also resulted in a dilemma for composers: to write according to what they wanted, or what their audience wanted This also resulted in a dilemma for composers: to write according to what they wanted, or what their audience wanted

6. Developments in Instruments More money in the hands of people meant they could more easily afford instruments and scores, which also created more music-making in the home During the late 18th century there was a surge in instrument making and buying, especially the guitar and keyboard instruments The pianoforte replaced the harpsichord and clavichord as the main keyboard instruments, giving people more dynamic and expressive possibilities

7. Music Printing Growth in music printing, particularly with improvements to the publishing industry in 1765 which allowed for easy and less expensive reproduction of music Growth in music printing, particularly with improvements to the publishing industry in 1765 which allowed for easy and less expensive reproduction of music 1798: publishing of music periodicals 1798: publishing of music periodicals Allgemeine musikalische Zeitung (General Musical Newsmagazine) published by Breitkopf and Härtel in Leipzig (Germany) Allgemeine musikalische Zeitung (General Musical Newsmagazine) published by Breitkopf and Härtel in Leipzig (Germany) Periodicals included articles that address music, reviews of concerts and scores, reports from around Europe, supplements and advertisements Periodicals included articles that address music, reviews of concerts and scores, reports from around Europe, supplements and advertisements

8. Composers’ Training Collapse of patronage system: impacted on musicians’ training and music education Collapse of patronage system: impacted on musicians’ training and music education Until now, the courts and churches with musical establishments provided training and experience for aspiring musicians Until now, the courts and churches with musical establishments provided training and experience for aspiring musicians 19th century: composers came to music later in life with less training and through a very different route 19th century: composers came to music later in life with less training and through a very different route Extraordinary diversity of Romantic music: composers not equally exposed to “canon” Extraordinary diversity of Romantic music: composers not equally exposed to “canon” Composers/performers: served as educators and personal teachers, founded conservatories, music critics/authors, and organized concerts/festivals Composers/performers: served as educators and personal teachers, founded conservatories, music critics/authors, and organized concerts/festivals

9. Musical Aesthetics With the questioning of authority and greater respect for the arts, music was recognized for its surreal nature With the questioning of authority and greater respect for the arts, music was recognized for its surreal nature ROMANTIC VIEW OF THE ARTIST: ROMANTIC VIEW OF THE ARTIST: Powerful figure who linked humankind with the gods, yet rejected by the society s/he strives to serve Powerful figure who linked humankind with the gods, yet rejected by the society s/he strives to serve Sympathy for oppressed, interest in the ‘simple’ folk Sympathy for oppressed, interest in the ‘simple’ folk Romantics were aware of nature: backdrop for conflicts of man Romantics were aware of nature: backdrop for conflicts of man Rebellion against conventional forms, movement towards more fanciful, picturesque, emotional and passionate art and music Rebellion against conventional forms, movement towards more fanciful, picturesque, emotional and passionate art and music Composers felt responsible to create Composers felt responsible to create Changes in audience impacted on output of composers Changes in audience impacted on output of composers

10. Historicism in Music Until 19thC, music was not preserved/studied Until 19thC, music was not preserved/studied Church/court musicians: required to produce new music every week Church/court musicians: required to produce new music every week Not until the early 19thC did concerts/performances of earlier music take place Not until the early 19thC did concerts/performances of earlier music take place Gradual extension backward in time to perform earlier music Gradual extension backward in time to perform earlier music Revivals of early music: “Bach revival” Revivals of early music: “Bach revival” publication of the Preludes &Fugues in 1800 publication of the Preludes &Fugues in 1800 Impact on composers of nineteenth century: competition with their contemporaries, as well as works of great “masters” before them Impact on composers of nineteenth century: competition with their contemporaries, as well as works of great “masters” before them Additional stress to 19thC composers: competition with their contemporaries and the music of the past Additional stress to 19thC composers: competition with their contemporaries and the music of the past