Romantic era: Opera, Brahms, Nationalism

1. The Romantic Era
The Nineteenth Century:
Opera, Brahms, and
Nationalism
01/07/13 1

2. Some Important Romantic
Composers of Opera
 Italian  German
 Rossini--operas in
 von Weber--stage
Italian and French effects and mysticism
 Verdi--an innovator in
 Wagner--music
Italian opera dramas
 Puccini--settings in  French
foreign lands  Offenbach--French
comic opera style,
operettas
 Bizet--cool reviews by
audiences and critics,
but later acclaimed
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

3. Romantic Opera:
Background Information
 Opera was “grand.”
 Musical and “extra-musical” ideas of
Romanticism could be expressed fully.
 The libretto, staging, acting, costumes,
sets, and characters added to the
expression of the instrumental music.
 Audiences loved the spectacle.
 Opera performers were “stars.”
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

4. Subjects of Typical
Romantic Operas
 Beethoven--Fidelio--  Bizet--Carmen--
heroism, love, death common man, love,
 Von Weber--Der death, exotic cultures
Freishcültz--magic,  Puccini--Madama
supernatural,
mysterious Butterfly and
Turandot--distant
 Verdi--La Traviata--
love, death, beauty lands, travel, exotic
cultures, love, death
 Wagner--Die
Walküre--hero,
supernatural, love
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

5. Earlier Opera vs.
Romantic Operation
 Before 1800  After 1800
 A series of songs  Performers act as
(arias and duets) characters in a
 Thin plot lines tightly knit plot
 Choruses and  Choruses and
instrumental music instrumental music
are fillers, integral to story
introductions, or  Opera showcases
interludes not only musical
 During arias, brilliance but grand
action stops spectacle of
drama
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

6. Italian Romantic Opera:
Characteristics
 Italian = dominant language
 Bel canto style continues
 Verdi’s innovations--typical of period
 High quality librettos; arias grew out of plot
and blended with action
 Plot and staging discouraged interruptions of
mood and story for applause
 Human, believable characters
 Instrumental passages integral to mood,
highly expressive; not just fillers
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

7. Giuseppe Verdi (1813-
1901)
 Born in Busseto, Italy, where he studied
music until age 18.
 Couldn’t play piano well enough to study at
Milan Conservatory, so studied privately.
 Composed more than 25 operas, many for
Milan’s famous opera house, La Scala.
 Was also a politician--appointed to Italian
parliament and elected to the senate.
 Established a home for retired opera singers.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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8. Giuseppe Verdi(1813-1901)
 Music education funded
by prosperous merchant
 Married merchant’s
daughter
 Wife & two children died
 Gave up composing for a
year due to these
tragedies, failed opera
 Nebucco-story of
Nebuchadnezzar,
relaunched career
 Re-married, composed
opera in his eighties
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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9. Guiseppe Verdi (1813 - 1901)
 Verdi lived in an unmarried relationship with a
woman; this is reflected in the story of La Traviata.
 Verdi sought to reform cultural and political
conventions through his art and his activities.
 Advocated for the unification of Italy.
 Elected to the newly constituted Italian parliament
in 1860.
 Other important compositions
 Operas Il Travatore, Rigoletto, Aïda, Otello,
Falstaff
 Requiem--a Mass for the Dead
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By Mark Evan Bonds PRENTICE HALL
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10. Verdi
 Subjects of operas &
sources
 Rigoletto-Victor Hugo
 “La donna mobile”-Duke’s
aria, expresses pleasure-
seeking personality
 Knew it would be popular,
waited until opening night to
rehearse it
 La Traviata-Alexander Dumas
 Pretty Woman opera
 Othello
 Macbeth
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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11. Verismo
 After the Romanticism of Bellini
and others, Italian opera
entered a “realistic”(verismo)
phase, with true to life
individuals and true emotions
expressed
 Strong emotional situations,
speed of action, and contrast
with plenty of opportunity for
exciting, lusty, ferocious
melodies and rhythms
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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12. Verismo
 A typical plot involves:
 X(soprano) and Y(tenor)
have a project in common.
They may or may not
achieve it in the fact of
Z(mezzo or bass
antagonist). Paternal or
maternal type(W) may help
or interfere. X and Y are
forced to make a moral
choice which usually
causes their downfall.
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By Mark Evan Bonds PRENTICE HALL
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13. Verdi
 Verdi’s ideas are of unswerving
fidelity to themes, certain
emotions, and morals
(behavioral, political, social,
sexual)
 Glorifies honor, patriotism, and
father-daughter relationships
 Exhibits hatred of oppression,
inequality, and tyranny
 Through all, judges his
characters with understanding,
compassion, and indulgence
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

14. Guiseppe Verdi
(1813 - 1901)
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15. Giacomo Puccini (1858-1924)
 Born in Lucca, Italy; family were church
composers; started out wanting to do that
 After seeing Aida, went to study opera
composition at Milan Conservatory
 An important Italian opera composer of
the Late Romantic Period
 Settings for some important operas are
exotic: Madama Butterfly (Japan),
Turandot (China), The Girl of the Golden
West (California, U.S.A), Tosca
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By Mark Evan Bonds PRENTICE HALL
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16. Giacomo Puccini(1858-
1924)
 Younger, not as
sophisticated
 Used verismo
 Characters rejected heroic,
mythological concepts
 La boheme
 Story of artsy, hippie
lifestyle on Left Bank of
Seine in Paris
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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17. La boheme
 Poet, painter, philosopher,
musician
 Struggling for money & food
 Mimi meets Rodolfo(poet),
they fall in love
 She dies of TB
 Not as long as typical 19th
century opera
 Still very popular
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

18. French Opera: Characteristics
 Paris became opera capital of Europe.
 Known for elaborate productions
 French opera
 Popular with middle class audiences
 Enjoyed the spectacle--singing, dancing, costumes,
staging, sets
 Large choruses, ballet, and lavish sets particularly
important in French grand opera
 Less elaborate staging; lighter subjects; less
pretentious; emphasis on satire and wit
 Jacques Offenbach--first to write in this style
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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19. Carmen
 A landmark in French opera
 Classified as opéra comique because it
included spoken dialogue; it was really a tragic
story.
 Story of two doomed lovers in Seville, Spain
 Began a trend of operatic realism (called
verismo) that inspired such famous operas as
La bohéme and Tosca (Puccini).
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By Mark Evan Bonds PRENTICE HALL
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20. Opera Divas
 Diva--means “the goddess.”
 More than a singer; a diva is a
phenomenon.
 Life story fascinates audiences as much
as virtuosic singing.
 Famous operatic divas
 Maria Callas, Renata Tebaldi, Joan
Sutherland, and Kiri Te Kanawa
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By Mark Evan Bonds PRENTICE HALL
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21. German Opera: Characteristics
 German composers began to compose in
German: Mozart (The Magic Flute), von
Weber--Der Freischütz (The
Freeshooter).
 Librettos involved magic, mysticism, the
supernatural, distant and exotic lands and
cultures, love, and heroes.
 Rejected the stories of court intrigues and
farces.
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By Mark Evan Bonds PRENTICE HALL
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22. German Opera
 Very different from Italian
 Language more guttural, music
heavier, less light-hearted
 Nordic gods instead of Greeks
 Carl Maria von Weber-Der
Freischutz
 Based on German folklore
 Offers mysticism, rustic scenes,
etc.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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23. Wagner’s Music Dramas
Romantic Opera in The Extreme
 Unification of drama & music
Music Drama
 Musical theme represents person,
Lietmotif
place, idea
 As long as 5 hours-intermissions
Extremely Long, long enough to go to dinner and
Complex
return
Elaborate Staging,
 Expensive and sometimes garish
Sets, Costumes  The idea: a total asthetic
experience in one
Gesamtkunstwerk
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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24. Wagner
 Created “Grand Opera”, or
Music Drama
 Wrote own libretto
 Mythological topics,
appealed best to emotions
 Philosophical overtones:
good vs. evil, contest
between physical &
spiritual, redemption
through love
 Characters pawns of
uncontrollable forces
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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25. Wagner
 Grand Opera
 Longer, more instruments,
more characters
 Doubled winds, added
percussion
 Not accepted at time, more
after Wagner’s death
 Full of emotion
 Eliminated recitative, aria,
chorus to achieve unending
melody
 More chromatic harmony, no
idea for tonic
 Orchestra more important,
bigger and louder
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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26. Der Ring des Nibelungen
 Greatest musical
achievement
 Opera Cycle
 “It ain’t over till the
fat lady sings.”
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By Mark Evan Bonds PRENTICE HALL
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27. Richard Wagner The
Valkyrie, Act III
 Story: In The Valkyrie, the main characters are
Wotan (chief of the gods), his daughter
Brünnhilde (a warrior-like Valkyrie). Brünnhilde
has intervened on behalf of a human couple, and
Wotan condemns her to death. She pleads for a
lesser sentence and is stripped of her godlike
powers, put into a deep sleep, and surrounded
with a ring of fire that can be crossed only by
someone who isn’t afraid of Wotan’s spear. In
this scene Wotan is saying goodbye to his
beloved daughter and summons Loge to create
the circle of fire.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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28. Richard Wagner
The Leitmotif
 Leitmotif--a brief musical phrase or idea that is
connected dramatically to some person, event,
or idea in the drama
 When the leitmotif is heard, it causes the
audience to recognize the person, event or idea.
 Similar to the “shark theme” in Jaws.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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29. Wagner and Tolkien:
The Ring and Lord of the Rings
 Both contain 4 works; the first is a prelude to the
rest of the story; based on Nordic myths.
 Both emphasize the power of the ring and the
grief it brings the owner who covets the power.
 The plots center on people’s efforts to own and
control the ring.
 Both start with a state of purity that is corrupted
later and then restored.
 Both feature giants, dragons, dwarves, a riddling
match, and a shattered sword recast to be more
powerful.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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30. Richard Wagner (1813 - 1883)
 The most controversial composer who
ever lived--some love him; some hate
him.
 Controversial figure--had very
questionable character to achieve
goals; an anti-Semite who may have
influenced Hitler
 Operas are full of social and political
ideas.
 Rienzi-1st success
 Born in Leipzig, son of police officer.
 Studied music of Beethoven.
 Held a series of positions as conductor.
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By Mark Evan Bonds PRENTICE HALL
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31. Richard Wagner (1813 - 1883)
 Fled Germany in 1848; first to house of Liszt, then
to Switzerland; lived there for 10 years.
 Second wife: Cosima Liszt
 King Ludwig II of Bavaria supported him and his art.
 Built a large opera house in Bayreuth--called
Festspielhaus (“a festival drama house”).
 1876-1st Bayreuth Festival, continues today
 Oversaw the building of the opera house and all the
performances there
 Buried at opera house
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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32. Richard Wagner
Other Operas
 The Flying Dutchman
 Tannhäuser
 Lohengrin
 Tristan und Isolde
 Die Meistersinger von Nürnberg
 Parsifal
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By Mark Evan Bonds PRENTICE HALL
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33. Some History of Late 19th
Century
 Professional composers supported themselves; they
were celebrities.
 Public concert societies promoted and staged
concerts
 Philharmonic and Symphony Orchestra Societies
sprang up in Europe and the U.S.
 New York Philharmonic, Boston Symphony, etc.
 Concert audiences grew and so did the demand for
new music; composers had enthusiastic audiences.
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By Mark Evan Bonds PRENTICE HALL
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34. The Role of the Conductor
 Primarily to keep the musicians playing
together
 Also to interpret the music through
communicating nuances of dynamics,
rhythm, texture, and timbre.
 Instrument IS the orchestra.
 Famous conductors--Arturo Toscanini
(NBC Orchestra in United States), Leonard
Bernstein (New York Philharmonic)
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By Mark Evan Bonds PRENTICE HALL
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35. Two Movements in Mainstream
Concert Music
 Radical: led by  Traditional: led by
Wagner Brahms
 Form of music  Forms and tonality still
subservient to important; should be
emotional expression recognizable
 Wandering tonality  Minimal extramusical
 Loose, vague forms associations
 Minimal emotionalism
 Reliance on extra-
musical associations  Chamber music, solo
 Music dramas, operas concertos, symphonies
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By Mark Evan Bonds PRENTICE HALL
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36. Johannes Brahms (1833-1897)
 Born in Hamburg, Germany, Son of shiftless double-
bass player
 A pianist who toured with the violinist, Remenyi, at age
20
 Went to Düsseldorf to study with Robert Schumann (and
met his wife, Clara, with whom he maintained a close
relationship).
 Moved to Vienna--never committed to a single job.
 Destroyed compositions he felt were inferior along with
many personal documents.
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By Mark Evan Bonds PRENTICE HALL
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37. Johannes Brahms
(1833 - 1897)
 Lived his life as a veritable recluse--a very private
individual.
 Robert Schumann, praised him as the “savior of
music.”
 One of the “three B’s” of German music--Bach,
Beethoven, and Brahms
 Interested in the music of the past
 His music synthesized ideas from past and from the
current time.
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
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38. Johannes Brahms(1833-1897)
 “A Classicist adrift in
the torrents of
Romanticism”
 No opera or tone
poem
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By Mark Evan Bonds PRENTICE HALL
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39. Brahms’ Music: Characteristics
 Imitated Beethoven’s symphonies, but not
innovative like Beethoven.
 Audiences called his 1st symphony,
“Beethoven’s 10th.”
 Avoided extreme changes in musical
expression (like those of Liszt and Wagner).
 Used and expanded classical forms.
 Used recognizable tonality with some
chromaticism.
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By Mark Evan Bonds PRENTICE HALL
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40. Ein Deutches Requiem
 Composed early in career, 1868, after
Schumann’s death
 Does not involve traditional Latin text
 Personal statement of faith based on German
verses, Old & New Testament
 7 movements; bass, soprano soloists; chorus;
orchestra
 4th movement: How Lovely is Thy Dwelling
Place; chorus & orchestra
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By Mark Evan Bonds PRENTICE HALL
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41. Brahms with friend, Johann
Strauss, Jr.
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42. Johannes Brahms
Other Compositions
 Symphony no.1 in C Minor
 Symphony no. 2 in D Major
 Symphony no. 3 in F Major
 Piano Concerto no. 1 in D Minor
 Piano Concerto no. 2 in B-flat Major
 Violin Concerto in D major
 Academic Festival Overture
 Clarinet Quintet in B Minor
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By Mark Evan Bonds PRENTICE HALL
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43. Nationalism
 Refers to deliberate,
conscious attempt to
develop artworks
characteristic of a
particular country or
region
 Attempt to break away
from German-Austrian
style
 Proof that other countries
had composers also
 Political climate of Europe
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By Mark Evan Bonds PRENTICE HALL
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44. European Politics of the Late
19th/Early 20th Century
 Citizens demanded democratic forms of
government
 French and American Revolutions sparked
similar unrest in many countries throughout
Western Europe, Russia, and Scandinavia
 Europe became industrialized; farmers moved
to cities; people recognized shared heritage.
 National pride developed, and musicians
incorporated folk traditions in their works.
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45. New Republics Formed
 1830: The  1871: Germany
Netherlands became unified into an empire
independent  1872: Portugal
 1830 Belgium became republic
became independent  1917: Russians
 1861: Italy unified its overthrew Czar;
city-states beginning of Soviet
Union
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46. Changes in Transportation
 Passenger trains took people all over Europe:
replaced stagecoaches
 Steamships replaced sailing ships; allowed
relatively easy Transatlantic crossings
 Musicians, writers, and artists traveled and
experienced other cultures; they included them in
their compositions, poems, and artworks.
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47. 19th Century Nationalism
in Russia: The Russian
Five
 5 Russian  Nikolai Rimsky-
composers band Korsakov
together  Modest Mussorgsky
 Promote purely
Russian music  Alexander Borodin
 Incorporate history,  César Cui
folklore, legends,  Mily Balakirev
native instruments,
native music
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48. Modest Mussorgsky (1839-1881)
 Born in Pskof, Russia: aristocratic family
 Worked in the Russian Guard and
composed on side
 Trained by Balakirev
 Incorporated inflection of Russian language
in his compositions
 An original and influential composer
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49. Modest Mussorgsky(1839-1881)
 Considered least
accomplished during lifetime
 Now greatest of Russian Five
 Not interested in musical
career, entered military
academy
 Skilled at piano & singing,
popular at parties
 Alcoholic, bizarre behavior
 Died age 42
 Rarely finished works, much
completed by Rimsky-
Korsakov
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50. Modest Mussorgsky
(1839-1881)
 Some famous works
 Opera: Boris Godunov
 Songs: The Nursery, Sunless, Songs and
Dances of Death; many others
 Orchestral music: tone poem Night on Bald
Mountain (one of pieces in Disney’s Fantasia)
 Piano music: Pictures at an Exhibition
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51. Pictures at an Exhibition
 Promenade
 The Great Gate of
Kiev
 Rock version by
Emerson, Lake, &
Palmer
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52. Nikolai Rimsky-Korsakov (1844-1908)
 Born in Tikhvin, Russia
 Served 11 years in Russian Navy as Inspector of Naval
Bands
 Then taught composition and orchestration at St.
Petersburg Conservatory of Music
 Arranged and edited collections of Russian folk music
 Edited many of Mussorgsky’s and Borodin’s works for
performance
 Famous students: Igor Stravinsky and Sergei Prokofiev
(20th century composers)
 Best known for symphonic poems and operas
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53. Nikolai Rimsky-Korsakov
(1844-1908)
 Some famous works
 Opera: Sadko, Mozart and Salieri,
Snegurochka (Snow Maiden), Le Coz d’or (The
Golden Cockerel), Skzka o Tsare Saltane (Tale
of Czar Saltan): includes “The Flight of the
Bumble Bee”
 Orchestral music: Symphonic suite
Scheherazade; Overture: Capriccio espagnol;
Russian Easter Overture
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54. Peter Ilyich Tchaikovsky
(1840-1893)
 Born in Votinsk, Russia
 Studied law, worked in Ministry of Justice until age 23
 Studied at St. Petersburg Conservatory of music with
Anton Rubinstein
 Taught music at Moscow Conservatory until age 37 when
he retired to compose
 One failed marriage, lived with brothers in St. Petersburg
 Supported financially by Nadezhda von Meck, required
they never meet
 1893-contracted cholera
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55. Peter Ilyich Tchaikovsky (1840-1893)
 Toured Russia, London, Europe as guest
conductor
 Guest conductor with New York philharmonic
for opening of Carnegie Hall
 NOT accepted into Russian Five; believed to be
too cosmopolitan and influenced by music of
other nations be be a Russian nationalist
 Suffered hatred because of his homosexuality;
probably committed suicide at age 53
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By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

56. Peter Ilyich Tchaikovsky
(1840-1893)
 Some famous works
 Opera: Eugene Onegin, The Queen of Spades,
Mazeppa
 Orchestral music: Ballets: Swan Lake,
Sleeping Beauty, The Nutcracker; Overtures:
Romeo and Juliet, 1812 Overture, March slav; 6
symphonies No. 2 Little Russian, No. 3 Polish,
No. 5 Pathétique; Concertos: 3 piano, 1 violin;
Miscellaneous: Capriccio italien, Capriccio
espagnol
Listen to This 5-56
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

57. Bedrich Smetana(1824-1884)
 Small town in Bohemia
 Studied in Prague
 Pianist for Kaiser
Ferdinand
 Became deaf toward end
of life
 No believer in “absolute
music”
 The Moldau(1874)
 Best known work from
Ma Vlast(My Country)
Listen to This 5-57
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458

58. Other Nationalist Composers
 Edvard Grieg-Norway
 Peer Gynt Suite-incidental music for Henrik Ibsen play
 Jean Sibelius-Finland
 Finlandia-became national of country
 Edward Elgar-England
 Pomp & Circumstance
 Ralph Vaughan-Williams-England
 Fantasia on a Theme by Thomas Tallis
 Manuel de Falla, Isaac Albañiz, Enrique Granados-Spain
Listen to This 5-58
By Mark Evan Bonds PRENTICE HALL
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458