the romantic period

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The Romantic Period1825- 1900

"Romanticism" was brought about by the social and political stresses following the French Revolution, and the resulting nationalistic trends.

It was a period of dramatic thought and action, also involving contradictions between capitalism and socialism, freedom and oppression, logic and emotion, science and faith. This resulted in a change in the thinking of people, especially creative artists.

There was a general impatience with the rules and restraints of Classicism, and music "revolted" against the practices of Mozart and Haydn.

The goal was to be different and individualistic. The ideal for the Romantic composer was to reflect his own feelings and emotions in his compositions in order to instill in the listener certain preconceived moods. The expression of emotion and the "sparking" of the imagination were a primary goal.

The center of musical activity shifted from Vienna to Paris, and musicians were no longer attached to patrons. However, while composers during this time did not write for the lower classes, their music was addressed to the masses to a far greater degree than before in the history of music.

Music became more and more disassociated from real life, while expressing the splendor and pride of the human spirit. In the effort to capture audiences, a dynamic and colorful personality became an important asset. The concert manager, or "impresario" as he was often called, was also an important figure in the business of music. Another important person behind the scenes of music was the music critic.

The Romantic era is known for its intense energy and passion. The rigid forms of classical music gave way to greater expression, and music grew closer to art, literature and theatre.

Beethoven pioneered Romanticism and expanded previously strict formulas for symphonies and sonatas, and introduced a whole new approach to music, giving his works references to other aspects of life - for example, his 'Pastoral' Symphony No. 6 describes countryside scenes.

As well as symphonies, the tone poem and descriptive overture were popular as pieces of stand-alone orchestral music that evoked anything from a painting or poem to a feeling of nationalistic fervour

The classical symphony follows form and structure very meticulously, where as the romantic symphony does not. Often, romantic symphonies have larger orchestrations and a larger variety of instrumentation. Sometimes, it could be said that romantic period symphonies are larger than life; they are much more expressive in terms of harmonization, rhythmic patterns, and dynamics.Whats the difference between the Classical and Romantic symphony?

Romanticism still served a sophisticated and aristocratic society, as had been the case with Classical music. Aristocratic patronage was smaller, but the intimacy of the exclusive salon was still the ideal setting for performances.Function of Music in the Romantic Period

Performance, however, was no longer by mere amateurs, for Romantic music was usually too technically demanding for unskilled performers. Standing outside the circle of the exclusive salon was a large concert-going public which loved music. Romantic composers were constantly striving to gain recognition of this large audience and, in an effort to win acceptance, they were very sensitive to the likes and dislikes of these music-lovers. Performers, as well as composers, had the urge to be acceptable and to dazzle audiences. Composers were often fine performers as well, such as Liszt and Chopin, who wrote a large number of virtuoso pieces to thrill the public with technical display.

The Romantic composer expressed his own feelings and convictions, writing music to express himself in personal "documents of art". The church was no longer considered a patron of music, with very little music written for liturgical purposes. The teaching of music, however, became an established profession. Many fine conservatories and schools of music were founded for the education of the performing and creative musician. Research in music history and theory was introduced into programs of many universities by the end of the 1800's. Many prominent composers and performers such as Liszt, Mendelssohn, Brahms and Schumann achieved wide recognition as teachers. Thus, to meet pressing needs for pedagogical (instructional) material, such composers wrote etudes (studies) and other short pieces for teaching.

Prominent Musical Characteristics

Basically, there are six chief musical characteristics in Romanticism:

SubjectivityEmotionalismNationalismProgrammatic CompositionsThick TimbreChromaticism


Subjectivity:Music was not objective (outside of human emotions) as in the Classical period, but had to be joined with extramusical ideas. In this respect, some of Beethoven's later music was held to be the model to be emulated. Because music could not convey pictures or ideas, some composers resorted to "objective" devices which imitated natural sounds. Much of the music during the nineteenth century has a sentimental quality.


Emotionalism:All music has some degree of emotionalism. However, the Romantic composer sought to intensify this aspect of his music. By the use of chromaticism (progression by half steps) in melodies and chords, and modulations (changing keys) and by exploiting tension in the music (by not resolving dissonances immediately), the composer was to keep the listener in a state of suspense for long periods of time.


Nationalism:Composers were greatly influenced by the intense nationalistic feelings that developed after the Napoleonic wars. Some composers were political outcasts (Chopin and Wagner), while others promoted a love for their country (Russian Five). The main areas of nationalistic music during the nineteenth century were Germany, Italy, France, Central Europe and Russia.


Programmatic Compositions:The development and use of descriptive music became an important part of the Romantic movement. The trend from the subjectivity of the composer to the emotionalism in the listener was natural. As mentioned previously, composers resorted to "objective" devices in their music. The devices included descriptive titles, melodic formulas, harmonic cliches and instrumental effects.


Thick Timbre:The availability of improved musical instruments allowed composers to experiment with novel orchestral effects. The timbre and texture of the orchestral color became more evocative as the nineteenth century progressed. The use of chromaticism and dissonance led to a very complex orchestral timbre by the end of the century:


Thick Timbre:The use of chromaticism and dissonance led to a very complex orchestral timbre by the end of the century: At the beginning of the century, the woodwind parts often doubled those of the strings. Brass instruments were mainly used to "fill in" louder passages.


Thick Timbre:The use of chromaticism and dissonance led to a very complex orchestral timbre by the end of the century: 2. About the middle of the century, the woodwinds were combined with the strings in all registers. The brass instruments were generally used to double other parts and to play for louder passages.


Thick Timbre:The use of chromaticism and dissonance led to a very complex orchestral timbre by the end of the century: 3. In the second half of the century, complete instrumentation was employed in each section of the orchestra. Each section tended to be treated on a more equal footing.


Chromaticism:The harmonic system established by Rameau in 1722 began breaking down during the Classical period. The Romantic composers exploited the use of altered chords and modulation to such a degree that the feeling for a central tonality often became obscure. This is especially true of music written after about 1850. The increased use of dissonance and half step movements in all the voices, and the avoidance of a "too-well-defined" tonality, paved the way for the Impressionistic and Expressionistic movements of the twentieth century.

Music Forms/ Styles

Program music- An instrumental music which relays ideas or narrates a story.

Character pieces- A short piece for the piano that depicts a single emotion, often in ABA form.

The Piano

During the Romantic period, the piano (pianoforte) became the most popular single instrument. It became a musical symbol of Romanticism, and was enlarged to give it a wider range and more tonal power. The piano reached such heights of popularity that it became the favorite household instrument with every family that could afford it. The orchestra grew to be the favorite large instrument of the century. Added were the English horn, the clarinet, more brass and percussion. Opera was also a major medium of expression.

Ballet MusicBallet is defined by dance, naturally, but it's also the gateway to some of the greatest music in the classical canon.

What's the deal with ballet music? Well, it depends on the ballet. When ballet was coming into its own as a dance medium, throughout the 17th and 18th centuries, the music was very much a background element. It took a long time for the music to be considered anything close to equal to the dance on stage, but it didn't stop some of history's favouritecomposersploughing their best material into the medium.

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Tchaikovsky'sSwan Lakewas a game-changer for ballet music. It was the first time an exclusively symphonic composer had composed a score for ballet, and that wasn't until 1876. Tchaikovsky's fingerprints are all over the work and, notably,Swan Lakeis perfectly digestible if you listen with or without dance. It's packed with tunes, from the gentle Dance of the Little Swans to the clattering finale (which you might recognise from old Frankenstein and Dracula movies from the '30s, as well as Billy Elliot).

Ballet Music

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But that's just an entry point. Before that, composers had to be specialists when it came to ballet, and were often seen as far less important or artful than their more symphonic peers. The focus was strictly on dance, and the composer's job was simply to accompany. Early examples to look at would be Jean-Phillipe Rameau'sLes Indes Galantesfrom 1735 (which is actually more of an opera-ballet - listen to an extract below), and perhaps Jean Baptiste Lully'sPsych ou la puissance de l'amourfrom 1656. They show the art form in its infancy, when composers were still working out how best to write music for dance.

Ballet Music

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Does it work outside the theatre?Ballet is, by its very definition, a visual art form as much as a musical one. Performances of Tchaikovsky's work in particular, from the festive fun ofThe Nutcrackerto the lush drama ofSwan Lake, are extremely visual and are still exceptionally popular with audiences. But the fashion for turning ballet music into straight orchestral works (usually called 'Ballet Suites' or something similar) has meant that much of this music is just as enjoyable without all the tights and prancing.

Ballet Music

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The Composers of the Romantic Era

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1833Johannes Brahms

Johannes Brahms(1833-1897) was a German composer and pianist and is considered a leading composer in the romantic period. His best known pieces include hisAcademic Festival Overture and German Requiem.

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1840Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky(1840-1893)was a Russian composer whose works included symphonies, concertos, operas, ballets, and chamber music.

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1849Frederic Chopin

Frederic Chopin (1810-1849) was a Polish composer and virtuoso pianist of French-Polish parentage. He is considered one of the great masters of Romantic music.

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1851Giuseppe Verdi

Giuseppe Verdi(18131901) was one of the few composers whose genius was recognised while he was alive. Verdi's reputation as the greatest of all Italian opera composers is beyond dispute.

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Robert Schumann(18101856) was a German romantic composer and influential music critic.Although Schumann was no child prodigy, he went on to become one of the most important composers of the 19th century and is recognised as such 200 years after his birth.

1856Robert Schumann

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Giacomo Puccini(18581924)was an Italian composer whose operas, including La Bohme, Tosca, Madama Butterfly, and Turandot are among the most frequently performed.

1858Giacomo Puccini

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Gustav Mahler(18601911) was an Austrian composer and a master of the symphony, who thought"The symphony must be like the world; it must embrace everything".

1860Gustav Mahler

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Claude Debussy(18621918) was a 20th-century French composer andone of the most prominent figures working within the field of impressionist music.

1862Claude Debussy

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Jean Sibelius1865 1957Few composers of Sibelius's stature have divided the critics so sharply. Many feel that it was Sibelius rather than Mahler who was the last master in the grand Beethoven symphonic tradition.

1865Jean Sibelius

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Sergei Rachmaninov(18731943)was a Russian composer, pianist, and conductor.Rachmaninov, it seemed, could do nothing right by most of his contemporary critics' and composers' standards. As a person, he appeared somewhat cold and aloof - Stravinsky once called him "a six-and-a-half foot tall scowl".

1873Sergei Rachmaninov41

Richard Wagner(18131883)was a German composer, conductor and theatre director who was primarily known for his operas. Sometimes called the greatest musical visionary of the 19th century. Some say he is an insatiable megalomaniac who didn't know when to stop

1883Richard Wagner

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Franz Liszt(18111886)was one of the most important composers of the Romantic period. His compositions inspired a whole generation of keyboard virtuosi.

1886Franz Liszt

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the romantic period

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scenes of music

function of music

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business of music

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romantic symphony

romantic symphonies