Jeff Kluball and Elizabeth Kramer

6.1 Objectives

1. Demonstrate knowledge of historical and cultural contexts of nineteenth-century music, including musical Romanticism and nationalism

2. Aurally identify selected genres of nineteenth-century music and their associated expressive aims, uses, and styles

3. Aurally identify the music of selected composers of nineteenth-century music and their associated styles

4. Explain ways in which various cultural expressions interact in nineteenth-century music in genres such as the art song, program music, opera, and musical nationalism

6.2 Key Terms and Individuals

6.3 Introduction and Historical Context

This chapter considers the music of the nineteenth century, a period often called the "Romantic era" in music. Romanticism might be defined as a cultural movement stressing emotion, imagination, and individuality. It started in literature around 1800 and then spread to art and music. By around 1850, the dominant aesthetic (artistic philosophy) of literature and visual art began to shift to what is now often called a time of realism (cultural expressions of what is perceived as common and contemporary). Cultural Nationalism (pride in one's culture) and Exoticism (fascination with the other) also became more pronounced after 1850, as reflected in art, literature, and music. Realism, nationalism, and Exoticism were prominent in music as well, although we tend to treat them as sub-categories under a period of musical Romanticism that spanned the entire century.

In his Preface to the second edition of the Lyrical Ballads (1801), English poet William Wordsworth declared that "all good poetry is the spontaneous overflow of powerful feelings." The power and expression of emotion exalted by literary Romanticism was equally important for nineteenth-century music, which often explicitly attempted to represent every shade of human emotion, the most prominent of which are love and sorrow. Furthermore, the Romantics were very interested in the connections between music, literature, and the visual arts. Poets and philosophers rhapsodized about the power of music, and musicians composed both vocal and instrumental program music explicitly inspired by literature and visual art. In fact, for many nineteenth-century thinkers, music had risen to the top of the aesthetic hierarchy. Music was previously perceived as inferior to poetry and sculpture, as it had no words or form. In the nineteenth century, however, music was understood to express what words could not express, thus transcending the material for something more ideal and spiritual; some called this expression "absolute music."

As we listen to nineteenth-century music, we might hear some similarities with music of the classical era, but there are also differences. Aesthetically speaking, classicism tends to emphasize balance, control, proportion, symmetry, and restraint. Romanticism seeks out the new, the curious, and the adventurous, emphasizing qualities of remoteness, boundlessness, and strangeness. It is characterized by restless longing and impulsive reaction, as well as freedom of expression and pursuit of the unattainable. There are many parallels between what was going on historically in society and what was occurring in music. We cannot study one without studying the other because they are so interrelated, though music will be our guiding focus.

Geo-politically, the nineteenth century extends from the French Revolution to a decade or so before World War I. The French Revolution wound down around 1799, when the Napoleonic Wars then ensued. The Napoleonic Wars were waged by Napoléon Bonaparte, who had declared himself emperor of France. Another war was the Unites States Civil War from 1861–1865. The United States also saw expansion westward as the gold rush brought in daring settlers. Even though the United States was growing, England was the dominant world power at this time. Its whaling trade kept ships sailing and lamps burning. Coal fueled the Industrial Revolution and the ever-expanding rail system. Economic and social power shifted increasingly towards the common people due to revolts. These political changes affected nineteenth-century music as composers who began to aim their music at the more common people, rather than just the rich.

Political nationalism was on the rise in the nineteenth century. Early in the century, Bonaparte's conquests spurred on this nationalism, inspiring Italians, Austrians, Germans, Eastern Europeans, and Russians to assert their cultural identities, even while enduring the political domination of the French. After France's political power diminished with the Congress of Vienna in 1814–1815, politics throughout much of Europe were still punctuated by revolutions, first a minor revolution in 1848 in what is now Germany, and then the Franco-Prussian War of 1870–1871. Later in the century, Eastern Europeans, in what is now the Czech Republic and Slovakia, and the Russians developed schools of national music in the face of Austro-German cultural, and sometimes political, hegemony. Nationalism was fed by the continued rise of the middle class as well as the rise of republicanism and democracy, which defines human beings as individuals with responsibilities and rights derived as much from the social contract as from family, class, or creed.

6.3.1 Philosophy

The nineteenth century saw some of the most famous continental philosophers of all time: Johann Wolfgang von Goethe (1749–1832), Georg Wilhelm Friedrich Hegel (1770–1831), Arthur Schopenhauer (1788–1860), and Friedrich Wilhelm Nietzsche (1844–1900). All responded in some way or another to the ideas of their eighteenth-century predecessor Immanuel Kant (1724–1804), who revolutionized the way human beings saw themselves in relation to others and to God by positing that human beings can never see "the thing in itself" and thus must relate as subjects to the objects that are exterior to themselves. Based on the work of Kant, as well as on a revival of ancient philosophical idealism, Hegel proposed some resolution of this subject-object dichotomy by characterizing human existence as thesis meeting its opposite in antithesis and thus yielding synthesis. Schopenhauer, on the other hand, maintained that Kant had been right to point to the divide between subject and object. (For our purposes here, consider music to be the human phenomenon in which one might experience the thing, or object, in itself.) His ideas influenced the musical philosophy of Richard Wagner, and both of Schopenhauer's and Wagner's ideas shaped Friedrich Nietzsche's early philosophy. In the middle of the nineteenth century, the ideas of Kant and Hegel, and to a lesser extent Schopenhauer, influenced American Transcendentalism, often reflected in the writings of Ralph Waldo Emerson (1803–1882) and Henry David Thoreau (1817–1862).

6.3.2 Science

Science and technology made great strides in the nineteenth century. Some of its inventions increased mobility of the individuals in the Western world, such as with the proliferation of trains running across newly-laid tracks and steamships sailing down major rivers and eventually across oceans. Other advances, such as the commercial telegraph (from the 1830s), allowed news to travel more quickly than before. All this speed and mobility culminated in the first automobiles that emerged at the very end of the century. Plate and then chemical photography were invented in the first half of the 1800s, with film photography emerging at the end of the century: we have photographs of several of the composers studied in this chapter. Experiments with another sort of recording, sound recording, would get started in the mid 1800s and finally become commercially available in the twentieth century. The nineteenth century saw ongoing experiments with electricity and electrically-powered lamps such as the light bulb that would also blossom as the century turned.

Romantics were fascinated by nature, and the middle class public followed naturalists, like Americans John James Audubon (1785–1851) and John Muir (1838–1914) and the Englishman Charles Darwin (1809–1882), as they observed and recorded life in the wild. Darwin's evolutionary theories based on his voyages to locales such as the Galapagos Islands were avidly debated among the people of his day.

6.3.3 Visual Art

Romantics were fascinated by the imaginary, the grotesque, and by that which was chronologically or geographically foreign. Emphasis on these topics began to appear in such late eighteenth-century works as Swiss painter Henry Fuseli's Nightmare from 1781. Romantics were also intrigued by the Gothic style: a young Goethe raved about it after visiting the Gothic Cathedral in Strasbourg, France. His writings, in turn, spurred the completion of the Cathedral in Cologne, Germany, which had been started in the Gothic style in 1248 and then completed in that same style between the years of 1842 and 1880.

Romantic interest in the individual, nature, and the supernatural is also very evident in nineteenth-century landscapes, including those of Caspar David Friedrich (1774–1840). One of his most famous paintings, Wanderer Above the Sea of Fog (1818), shows a lone man with his walking stick, surrounded by a vast horizon. The man has progressed to the top of a mountain, but there his vision is limited due to the fog. We do not see his face, perhaps suggesting the solitary reality of a human subject both separate from and somehow spiritually attuned to the natural and supernatural.

In France, Eugène Delacroix (1798–1863) captured the revolutionary and nationalist fervor of the time in such paintings as Liberty Leading the People (1830). He was also a good friend with musicians Frydryk Chopin and Hector Berlioz, whom he immortalized in portraits.

Francisco de Goya (1746–1828) was born in Fuendetodos, Spain. He painted for the Spanish Royal court, producing portraits of nobility. However, he also painted works criticizing the social and political problems of his era.

One of Goya's personal projects, Disasters of War, however, was commissioned by no one. It was Goya's private project, which he never even published in his lifetime. Disasters of Warunflinchingly depicts mutilation, torture, rape, and many other atrocities indiscriminately inflicted on Spanish citizens by French and Spanish alike. In The Third Day of May, Goya commemorated the Spanish resistance to Napoleon's Armies in 1808 in the Peninsular War. It portrays an execution by Napoleon's Troops

As the nineteenth century progressed, European artists became increasingly interested in what they called "realist" topics, that is, in depicting the lives of the average human, as he or she went about living in the present moment. While the realism in such art is not devoid of idealizing forces, it does emphasize the validity of the everyday life as a topic for art alongside the value of craft and technique in bringing such "realist" scenes to life.

6.3.4 Literature

The novel, which had emerged forcefully in the eighteenth century, became the literary genre of choice in the nineteenth century. Many German novels focused on a character's development; most important of these novels are those by the German philosopher, poet, and playwright, Johann Wolfgang von Goethe, who was fascinated with the supernatural and set the story of Faust. Faust is a man who sells his soul to the devil in exchange for knowledge, in an epic two-part drama. English author Mary Shelley (1797–1851) explored nature and the supernatural in the novel Frankenstein, or the Modern Prometheus (1818), which examines current scientific discoveries as participating in the ancient quest to control nature. Later in the century, British author Charles Dickens exposed the plight of the common man during a time of Industrialization. In France, Victor Hugo (1802–1885) wrote on a broad range of themes, from what his age saw as the grotesque in The Hunchback of Notre-Dame (1831) to the topic of French Revolution in Les Misérables (1862). Another Frenchman, Gustave Flaubert, captured the psychological and emotional life of a "real" woman in Madame Bovary (1856). And in the United States, Mark Twain created Tom Sawyer (1876).

Besides novels, poetry continued strong in the nineteenth century with such important English poets as George Gordon, Lord Byron, Wordsworth, Samuel Taylor Coleridge, and John Keats. In addition to Goethe, other German literary figures included Friedrich Schiller, Adrian Ludwig Richter, Heinrich Heine, Novalis, Ludwig Tieck, and E. T. A. Hoffmann; their works contributed librettos and settings for nineteenth-century music. Near the end of the century, French symbolism, a movement akin to Impressionism in art and music, emerged in the poetry of Paul Verlaine, Stéphane Mallarmé, and Arthur Rimbaud.

View a comprehensive timeline that compares historical and musical events of the Romantic period

6.3.5 Nineteenth-Century Musical Contexts

We have already alluded to a new respect for vocal and instrumental music that emerged at the end of the eighteenth century. Music's influence only grew in the nineteenth century, becoming more prominent yet in the education of the still growing middle class; even the United States, which throughout most of the nineteenth century was deemed somewhat a cultural backwaters of the Western world, had music education in the public schools by the end of the century. An increasing number of music magazines was published, and amateur music making in the home and in local civic groups was at a height. Piano music was a major component of private music making. The salons and soirées of upper middle class and aristocratic women drew many of these private musical performances.

More concerts in public venues enjoyed increased attendance; some of these concerts were solo recitals and others featured large symphony orchestras, sometimes accompanied by choirs. Their performers were often trained in highly specialized music schools called conservatories, which took root in major European cities. By the end of the nineteenth century, traveling virtuoso performers and composers were some of the most famous personalities of their time. These musicians hailed from all over Europe. Some of them became quite wealthy from revenues of ticket sales and publications. Others fit the stereotype of the starving artist, paid in respect though not in the currency of their day.

Romantic aesthetics tended to conceptualize musicians as highly individualistic and often eccentric. Beethoven modeled these concepts and was the most influential figure of nineteenth-century music, even after his death in 1827. His perceived alienation from society, the respect he was given, and the belief in the transformative power of music that was often identified in his compositions, galvanized romantic perceptions. His music, popular in its own day, only became more popular after his death. Subsequent composers looked to his innovations in symphonic compositions, especially his use of recurring motives and themes, as we heard in the Fifth Symphony. For them, Beethoven was also something of a problem: how might one compose in the shadow of such a musical giant? [see Anxiety of Influence.]

6.3.6 Musical Timeline

6.4 Music in the Nineteenth Century

6.4.1 Music Comparison Overview

6.4.2 General Trends in Nineteenth Century Music

Musical Style, Performing Forces, and Forms

The nineteenth century is marked by a great diversity in musical styles, from the conservative to the progressive. As identified by the style-comparison chart above, nineteenth-century melodies continue to be tuneful and are perhaps even more song-like than classical-style melodies, although they may contain wider leaps. Melodies use more chromatic (or "colorful") pitches from outside the home key and scale of a composition. Along with the continuing emphasis on tuneful melodies comes predominantly homophonic textures, although as compositions use more instruments, there are also increasing numbers of accompanying, but relatively interesting, musical lines.

Harmonies in nineteenth-century music are more dissonant than ever. More chords add a fourth note to the triad, making them more dissonant and chromatic. These dissonances may be sustained for some time before resolving to a chord that is consonant. One composition may modulate among several keys, and these keys often have very different pitch contents. Such modulations to "remote" keys tend to disorient the listener and add to the musical interest of the piece. Composers were in effect "pushing the harmonic envelope."

The lengths of nineteenth-century musical compositions ran from the minute to the monumental. Songs and short piano pieces might be only a couple of minutes long, although they were sometimes grouped together in cycles or collections. On the other hand, symphonies and operas grow in size. By the end of the century, a typical symphony might be an hour long, with the operas of Verdi, Wagner, and Puccini clocking in at several hours each. Performing forces reflected similar extremes. There is much nineteenth-century music for solo piano or solo voice with piano accompaniment. The piano achieved a modern form, with the full eighty-eight-note keyboard that is still used today and an iron frame that allowed for greater string tension and a wider range of dynamics. Crescendos and decrescendos became more common, alongside more tempo fluctuations, even within compositions. As we will see, Fryderyk Chopin was the first composer to make prevalent use of tempo rubato as a performance instruction in his musical scores.

During the nineteenth century, the Industrial Revolution facilitated and enabled marked improvements to many musical instruments besides the piano, with its improved and updated iron frame and tempered metal strings. Efficient valves were added to the trumpet and a general improvement in metal works tightened tolerances and metal fittings of all brass instruments. Along with the many improvements to instruments, new instruments were researched and created, including the piccolo, English horn, tuba, contrabassoon, and saxophone.

Orchestras also increased in size and became more diverse in makeup, thereby allowing composers to exploit even more divergent dynamics and timbres. With orchestral compositions requiring over fifty (and sometimes over 100) musicians, a conductor was important, and the first famous conductors date from this period. In fact, generally speaking, the nineteenth-century orchestra looked not unlike what you might see today at concerts by most professional orchestras (see Figure 6.9).

Nineteenth-century composers knew well the forms and genres used by their predecessors, most prominently the music of Beethoven, but also the music of composers such as Mozart, Handel, Haydn, and Bach. They continued to compose in these forms and genres, while sometimes transforming them into something quite different, especially among those composers who identified themselves as progressives, as opposed to conservatives. The wider nineteenth-century interest in emotion and in exploring connections between all of the arts led to musical scores with more poetic or prose instructions from the composer. It also led to more program music, which as you will recall, is instrumental music intended to represent something "extra-musical"—that is, something outside of music itself—such as nature, a literary text, or a painting. Nineteenth-century critics and philosophers sustained expansive debates about ways in which listeners might hear music as related to the extra-musical. Extra-musical associations, from a simple descriptive title to a full-scale narrative attached to a musical score, guided composers and listeners as they composed and heard musical forms.

Genres of Instrumental Music

Some nineteenth-century compositions use titles similar to those found in classical-style music, such as "Symphony No. 3," "Concerto, Op. 21," or "String Quartet in C Minor." Pieces like this are sometimes referred to as absolute music (that is, music that refers only to itself, not to any outside elements). Program music came in several forms. Short piano works were described as "character pieces," and often had descriptive titles meant to give a general impression of the composer's idea in writing the piece. Orchestral program music included the program symphony and the Symphonic Poem (also known as the tone poem). The program symphony was a multi-movement composition for orchestra that represented something extra-musical, such as Hector Berlioz's Symphonie fantastique (discussed below). A symphonic or tone poem was a one-movement composition for orchestra, again with an extra-musical association, such as Bedřich Smetana's Die Moldau.

Genres of Vocal Music

Opera continued to be popular in the nineteenth century and was dominated by Italian styles and form, much like it had been since the seventeenth century. Italian opera composer Gioachino Rossini even rivaled Beethoven in popularity. By the 1820s, however, other national schools were becoming more influential. Carl Maria von Weber's German operas enhanced the role of the orchestra, whereas French grand opera by Giacomo Meyerbeer and others was marked by the use of large choruses and elaborate sets. Later in the century, composers such as Giuseppe Verdi and Richard Wagner would synthesize and transform opera into an even more dramatic genre.

Other large-scale choral works in the tradition of the Baroque cantata and oratorio were written for civic choirs which would sometimes band together into larger choral ensembles in annual choral festivals. The song for voice and piano saw revived interest, and art songs (or, Lieder) were chief among the music performed in the home for private and group entertainment. The art song is a composition for solo voice and piano that merges poetic and musical concerns. It became one of the most popular genres of nineteenth-century Romanticism, a movement that was always looking for connections between the arts. Sometimes these art songs were grouped into larger collections called song cycles or, in German, Liederkreis. Among the important composers of early nineteenth-century German Lieder were Robert and Clara Schumann, Johannes Brahms, and Franz Schubert.

6.5 Music of Franz Schubert (1797–1828)

Franz Schubert lived a short but prolific musical life. Like Joseph Haydn, he performed as a choirboy until his voice broke. He also received music lessons in violin, piano, organ, voice and musical harmony: many of his teachers remarked on the young boy's genius. Schubert followed in his father's footsteps for several years, teaching school through his late teens, until he shifted his attention to music composition fulltime in 1818. By that time he had already composed masterpieces for which he is still known, including the German Lied Der Erlkönig (in English, The Erlking), which we will discuss.

Schubert spent his entire life in Vienna in the shadow of the two most famous composers of his day: Ludwig van Beethoven, whose music we have already discussed, and Gioachino Rossini, whose Italian operas were particularly popular in Vienna in the first decade. Inspired by the music of Beethoven, Schubert wrote powerful symphonies and chamber music, which are still played today; his "Great" Symphony in C major is thought by many to be Schubert's finest contribution to the genre. He wrote the symphony in 1825 and 1826, but it remained unpublished and indeed perhaps unperformed until Robert Schumann discovered it in 1838. Schumann famously remarked on the "heavenly length" of this composition that can take almost an hour to perform. One reason for its length is its melodic lyricism, although the symphony also reflects the motivic developmental innovations of Beethoven.

Schubert also wrote operas and church music. His greatest legacy, however, lies in his more than 600 Lieder, or art songs. His songs are notable for their beautiful melodies and clever use of piano accompaniment and bring together poetry and music in an exemplary fashion. Most are short, stand-alone pieces of one-and-a-half to five minutes in length, but he also wrote three song cycles. These songs were published and performed in many private homes and, along with all of his compositions, provided so much entertainment in the private musical gatherings in Vienna that these events were renamed as Schubertiades (see the famous depiction of one Schubertiade by the composer's close friend Moritz von Schwind (painted years after the fact from memory in 1868). Many of Schubert's songs are about romantic love, a perennial song topic. Others, such as The Erlking, put to music romantic responses to nature and to the supernatural. The Erlking is strikingly dramatic, a particular reminder that music and drama interacted in several nineteenth-century genres, even if their connections can be most fully developed in a lengthy composition, such as an opera.

Focus Composition: Schubert, The Erlking (1815)

Schubert set the words of several poets of his day, and The Erlking (Erlkönig, 1815) is drawn from the poetry of the most famous: Johann Wolfgang von Goethe. The Erlking tells the story of a father who is rushing on horseback with his ailing son to the doctor. Delirious from fever, the son hears the voice of the Erlking, a grim reaper sort of king of the fairies, who appears to young children when they are about to die, luring them into the world beyond. The father tries to reassure his son that his fear is imagined, but when the father and son reach the courtyard of the doctor's house, the child is found to be dead.

As you listen to the song, follow along with its words. You may have to listen several times in order to hear the multiple connections between the music and the text. Are the ways in which you hear the music and text interacting beyond those pointed out in the listening guide?

The next generation of nineteenth-century composers—born in the first two decades of the century—included a number of talented pianists: Felix and Fanny Mendelssohn, Robert and Clara Schumann, Fryderyk Chopin, and Franz Liszt. They were joined by orchestra composer Hector Berlioz and a slightly younger composer who might be considered Berlioz's alter ego, Johannes Brahms.

6.6 Music of the Mendelssohns

In terms of musical craft, few nineteenth-century composers were more accomplished than Felix Mendelssohn-Bartholdy (1809–1847). Growing up in an artistically-rich, upper-middle-class household in Berlin, Germany, Felix Mendelssohn received a fine private education in the arts and sciences and proved himself to be precociously talented from a very young age. He would go on to write chamber music for piano and strings, art songs, church music, four symphonies, and oratorios as well as conduct many of Beethoven's works as principal director of the Leipzig Gewandhaus Orchestra. All of his music emulates the motivic and organic styles of Beethoven's compositions, from his chamber music to his more monumental compositions. Felix was also well-versed in the musical styles of Mozart, Handel, and Bach.

Felix descended from a family of prominent Jewish intellectuals; his grandfather Moses Mendelssohn was one of the leaders of the eighteenth-century German Enlightenment. His parents, however, seeking to break from this religious tradition, had their children baptized as Reformed Christians in 1816. Anti-Semitism was a fact of life in nineteenth-century Germany, and such a baptism opened some, if not all, doors for the family. Most agree that in 1832, the failure of Felix's application for the position as head of the Berlin Singakademie was partly due to his Jewish ethnicity. This failure was a blow to the young musician, who had performed frequently with this civic choral society, most importantly in 1829, when he had led a revival of the St. Matthew Passion by Johann Sebastian Bach. Although today we think of Bach as a pivotal figure of the Baroque period, his music went through a period of neglect until this revival.

Initially, Felix's father was reluctant to see his son become a professional musician; like many upper-middle-class businessmen, he would have preferred his son enjoy music as an amateur. Felix, however, was both determined and talented, and eventually secured employment as a choral and orchestral conductor, first in Düsseldorf, and then in Leipzig, Germany, where he lived from 1835 until his death. In Leipzig, Felix conducted the orchestra and founded the town's first music conservatory.

Felix's music was steeped in the styles of his predecessors. Although he remained on good terms with more experimental composers of his day, including Hector Berlioz and Franz Liszt, he was not fond of their music. It is not surprising, then, that he composed in genres passed down to him, including the symphony, string quartet, and oratorio.

Focus Composition: Mendelssohn, excerpts from Elijah (1846)

One of his last works, his oratorio Elijah, was commissioned by the Birmingham Festival in Birmingham, England. The Birmingham Festival was one of many nineteenth-century choral festivals that provided opportunities for amateur and professional musicians to gather once a year to make music together. Mendelssohn's music was very popular in England, and the Birmingham Festival had already performed another Mendelssohn oratorio in the 1830s, giving the premiere of Elijah in English in 1846.

Elijah is interesting because it is an example of music composed for middle-class music-making. The chorus of singers was expected to be largely made up of musical amateurs, with professional singers brought in to sing the solos. The topic of the oratorio, the Hebrew prophet Elijah, is interesting as a figure significant to both the Jewish and Christian traditions, both of which Felix embraced to a certain extent. (In general, Felix was private about his religious convictions, and interpretations of Elijah as representing the composer's beliefs will always remain somewhat speculative.) This composition shows Felix's indebtedness to both Baroque composers Bach and Handel, while at the same time it uses more nineteenth-century harmonies and textures.

The following excerpt is from the first part of the oratorio and sets the dramatic story of Elijah's calling the followers of the pagan god Baal to light a sacrifice on fire. Baal fails his devotees; Elijah then summons the God of Abraham to a display of power with great success. The excerpt here involves a baritone soloist who sings the role of Elijah and the chorus that provides commentary. Elijah first sings a short accompanied recitative, not unlike what we heard in the music of Handel's Messiah. The first chorus is highly polyphonic in announcing the flames from heaven before shifting to a more homophonic and deliberate style that uses longer note values to proclaim the central tenet of Western religion: "The Lord is God, the Lord is God! O Israel hear! Our God is one Lord, and we will have no other gods before the Lord." After another recitative and another chorus, Elijah sings a very melismatic and virtuoso aria.

Elijah was very popular in its day, in both its English and German versions, both for music makers and musical audiences, and continues to be performed by choral societies today.

Felix was not the only musically precocious Mendelssohn in his household. In fact, the talent of his older sister Fanny (1805–1847) initially exceeded that of her younger brother. Born into a household of intelligent, educated, and socially-sophisticated women, Fanny was given the same education as her younger brother (see figure of Fanny Mendelssohn, sketched by her future husband.

But for her, as for most nineteenth-century married women from middle-class families, a career as a professional musician was frowned upon. Her husband, Wilhelm Hensel supported her composing and presenting her music at private house concerts held at the Mendelssohn's family residence. Felix also supported Fanny's private activities, although he discouraged her from publishing her works under her own name. In 1846, Fanny went ahead and published six songs without seeking her husband's or brother's permission.

Musicians today perform many of the more than 450 compositions that Fanny wrote for piano, voice, and chamber ensemble. Among some of her best works are the four-movement Piano Trio in D minor, Op. 11, and several volumes of songs and piano compositions. This piano trio holds its own with the piano trios, piano quartets, piano quintets, and string quartets composed by other nineteenth-century composers, from Beethoven and Schubert to the Schumanns, Johannes Brahms, and Antonín Dvořák.

6.7 Music of the Schumanns

Husband and wife Robert and Clara Schumann were another prominent musical pair of the nineteenth century. The couple became acquainted after Robert (1810–1856) moved to Leipzig and started studying piano with Friedrich Wieck, the father of the young piano prodigy Clara (1819–1896). The nine-year-old Clara was just starting to embark on her musical career. Throughout her teens, she would travel giving concerts, dazzling aristocratic and public audiences with her virtuosity. She also started publishing her compositions, which she often incorporated into her concerts. Her father, perhaps realizing what marriage would mean for the career of his daughter, refused to consent to her marriage with Robert Schumann, a marriage she desired as she and Robert had fallen in love. They subsequently married in 1840, shortly before Clara's twenty-first birthday, after a protracted court battle with her father.

Once the two were married, Robert's musical activities became the couple's first priority. Robert began his musical career with aims of becoming a professional pianist. When he suffered weakness of the fingers and hands, he shifted his focus to music journalism and music composition. He founded a music magazine dedicated to showcasing the newer and more experimental music then being composed. And he started writing piano compositions, songs, chamber music, and eventually orchestral music, the most important of which include four symphonies and a piano concerto, premiered by Clara in 1846. While Robert was gaining recognition as a composer and conductor, Clara's composition and performance activities were restricted by her giving birth to eight children.

Then in early 1854, Robert started showing signs of psychosis and, after a suicide attempt, was taken to an asylum. Although one of the more progressive hospitals of its day, this asylum did not allow visits from close relatives, so Clara would not see her husband for over two years and then only in the two days before his death. After his death, Clara returned to a more active career as a performer; indeed, she spent the rest of her life supporting her children and grandchildren through her public appearances and teaching. Her busy calendar may have been one of the reasons why she did not compose after Robert's death.

The compositional careers of Robert and Clara followed a similar trajectory. Both started their compositional work with short piano pieces that were either virtuoso showpieces or reflective character pieces that explored extra-musical ideas in musical form. Theirs were just a portion of the many character pieces, especially those at a level of difficulty appropriate for the enthusiastic amateur pianist, published throughout Europe. After their marriage, they both merged poetic and musical concerns in Lieder—Robert published many song cycles, and he and Clara joined forces on a song cycle published in 1841. They also both turned to traditional genres, such as the sonata and larger four-movement chamber music compositions.

Focus Compositions: Character Pieces by Robert and Clara Schumann

We'll listen to two character pieces from the 1830s. Robert Schumann's "Chiarina," was written between 1834 and 1835 and published in 1837 in a cycle of piano character pieces that he called Carnaval, after the festive celebrations that occurred each year before the beginning of the Christian season of Lent. Each short piece in the collection has a title, some of which refer to imaginary characters that Robert employed to give musical opinions in his music journalism. Others, such as "Chopin" and "Chiarina," refer to real people, the former referring to the popular French-Polish pianist Fryderyk Chopin, and the latter referring to the young Clara. At the beginning of the "Chiarina," Robert inscribed the performance instruction "passionata," meaning that the pianist should play the piece with passion. "Chiarina" is little over a minute long and consists of two slightly contrasting musical phrases.

The second character piece is one written by Clara Schumann between 1834 and 1836 and published as one piece in the collection Soirées Musicales in 1836 (a soirée was an event generally held in the home of a well-to-do lover of the arts where musicians and other artists were invited for entertainment and conversation). Clara called this composition Ballade in D minor. The meaning of the title seems to have been vague almost by design, but, most broadly considered, a ballade referred to a composition thought of as a narrative. As a character piece, it tells its narrative completely through music. Several contemporary composers wrote ballades of different moods and styles; Clara's "Ballade" shows some influence of Chopin.

Clara's Ballade, like Robert's "Chiarina," has a homophonic texture and starts in a minor key. A longer piece than "Chiarina," the Ballade in D minor modulates to D major, before returning to D minor for a reprise of the A section. Its themes are not nearly as clearly delineated as the themes in "Chiarina." Instead, phrases start multiple times, each time slightly varied. You may hear what we call musical embellishments. These are notes the composer adds to a melody to provide variations. You might think of them like jewelry on a dress or ornaments on a Christmas tree. One of the most famous sorts of ornaments is the trill, in which the performer rapidly and repeatedly alternates between two pitches. We also talk of turns, in which the performer traces a rapid stepwise ascent and descent (or descent and ascent) for effect. You should also note that as the pianist in this recording plays, he seems to hold back notes at some moments and rush ahead at others: this is called tempo rubato, that is, the robbing of time from one note to give it to another. We will see the use of rubato even more prominently in the music of Chopin.

6.8 Music of Fryderyk Chopin

Fryderyk (or Frédéric) Chopin (1810–1849) grew up in and around Warsaw, Poland, son of a French father and Polish mother. His family was a member of the educated middle class; consequently, Chopin had contact with academics and wealthier members of the gentry and middle class. He learned as much as he could from the composition instructors in Warsaw—including the keyboard music of Bach, Mozart, and Beethoven—before deciding to head off on a European tour in 1830. The first leg of the tour was Vienna, where Chopin expected to give concerts and then head further west. About a week after his arrival, however, Poland saw political turmoil in the Warsaw uprising, which eventually led to Russian occupation of his home country. After great efforts, Chopin secured a passport and, in the summer of 1831, traveled to Paris, which would become his adopted home. Paris was full of Polish émigrés, who were well received within musical circles. After giving a few public concerts, Chopin was able to focus his attention on the salons, salons being smaller, semi-private events, similar to soirées, generally hosted by aristocratic women for artistic edification. There and as a teacher, he was in great demand and could charge heavy fees.

Much like Robert and Clara Schumann, Chopin's first compositions were designed to impress his audiences with his virtuoso playing. As he grew older and more established, his music became more subtle. Also, like the Schumanns, he composed pieces appropriate in difficulty for the musical amateur as well as work for virtuosos such as himself. Unlike many of the other composers we have discussed, Chopin wrote piano music almost exclusively. He was best known for character pieces, such as mazurkas, waltzes, nocturnes, etudes, ballades, polonaises, and preludes.

Focus Composition: Chopin Mazurka in B-flat Major, Op. 7, No. 1 (1832)

The composition on which we will focus is the Mazurka in B-flat Major, Op. 7, no. 1, which was published in Leipzig in 1832 and then in Paris and London in 1833. The mazurka is a Polish dance, and mazurkas were rather popular in Western Europe as exotic stylized dances. Mazurkas are marked by their triple meter in which beat two rather than beat one gets the stress. They are typically composed in strains and are homophonic in texture. Chopin sometimes incorporated folk-like sounds in his mazurkas, sounds such as drones and augmented seconds. A drone is a sustained pitch or pitches. The augmented second is an interval that was commonly used in Eastern European folk music but very rarely in the tonal music of Western European composers.

All of these characteristics can be heard in the Mazurka in B-flat Major, Op. 7, no. 1, together with the employment of rubato. Chopin was the first composer to widely request that pianists use rubato when playing his music.

6.9 Music of Franz Liszt

Franz Liszt (b. 1811–1886) was born in Doborján, Hungary (now Raiding, Austria). His father, employed as a steward for a wealthy family, was an amateur musician who recognized his son's talent. A group of Hungarian noblemen sponsored him with a stipend that enabled Franz to pursue his musical interest in Paris. There, he became the friend of Mendelssohn, Hugo, Chopin, Delacroix, George Sand, and Berlioz; these friends influenced him to become part of the French Romanticism movement.

Also in Paris in 1831, Liszt attended a performance of virtuoso violinist Paganini, who was touring. Paganini's style and success helped make Liszt aware of the demand for a solo artist who performed with showmanship. The ever-growing mass public audience desired gifted virtuoso soloists performers at the time. Liszt, one of the best pianists of his time, became a great showman who knew how to energize an audience. Up until Liszt, the standard practice of performing piano solos was with the solo artist's back to the audience. This limited—and actually blocked—the audience from viewing the artist's hands, facial expression, and musical nuance. Liszt changed the entire presentation by turning the piano sideways so the audience could view his facial expressions and the manner in which his fingers interacted with the keys, from playing loud and thunderously to gracefully light and legato. Liszt possessed great charisma and performance appeal; indeed, he had a following of young ladies that idolized his performances. During his career of music stardom, Liszt never married and was considered one of the most eligible bachelors of the time. But he did have several "relationships" with different women, one of whom was the novelist Countess Marie d'Agoult who wrote under the pen name of Daniel Stern. She and Liszt traveled to Switzerland for a few years and they had three children, including Cosima who ultimately married Wagner.

While at the height of his performance career, Liszt retreated from his piano soloist career to devote all his energy to composition. He moved to Weimer in 1848 and assumed the post of court musician for the Grand Duke, remaining in Weimer until 1861. There, he produced his greatest orchestral works. His position in Weimer included the responsibility as director to the Grand Duke's opera house. In this position, Liszt could influence the public's taste in music and construct musical expectations for future compositions. And he used his influential position to program what Wagner called "Music of the Future." Liszt and Wagner both advocated and promoted highly dramatic music in Weimer, with Liszt conducting the first performances of Wagner's Lohengrin, Berlioz's Benevenuto Cellini, as well as many other contemporary compositions.

While in Weimer, Liszt began a relationship with a woman who had a tremendous influence on his life and music. A wife of a nobleman in the court of the Tsar, Princess Carolyne Sayn-Wittgenstein met and fell in love with Liszt on his final performance tour of Russia. Later she left her husband and moved to Weimer to be with Liszt. She assisted Liszt in writing literary works, among which included a fabricated biography by Liszt on the Life of Chopin and a book on "Gypsy," a book also considered eccentric and inaccurate.

While Liszt had an eventful romantic life, he remained a Roman Catholic, and he eventually sought solitude in the Catholic Church. His association with the church led to the writing of his major religious works. He also joined the Oratory of the Madonna del Rosario and studied the preliminary stage for priesthood, taking his minor orders and becoming known as the Abbé Liszt. He dressed as a priest and composed Masses, oratorios, and religious music for the church.

Still active at the age of seventy-five, he earned respect from England as a composer and was awarded an honor in person by Queen Victoria. Returning from this celebration, he met Claude Debussy in Paris then journeyed to visit his widowed daughter Cosima in Bayreuth and attended a Wagnerian Festival. He died during that festival, and even on his deathbed, dying of pneumonia, Liszt named one of the "Music of the Future" masterpieces: Wagner's Tristan.

Liszt's primary goal in music composition was pure expression through the idiom of tone. His freedom of expression necessitated his creation of the Symphonic Poem, sometimes called a tone poem—a one-movement program piece written for orchestra that portrays images of a place, story, novel, landscape or non-musical source or image. This genre features transformations of a few themes through the entire work for continuity. The themes are varied by adjusting the rhythm, harmony, dynamics, tempos, instrumental registers, instrumentation in the orchestra, timbre, and melodic outline, or shape. By making these slight-to-major adjustments, Liszt found it possible to convey the extremes of emotion—from love to hate, war to peace, triumph to defeat—within a thematic piece. His thirteen symphonic poems greatly influenced the nineteenth century, an influence that continues through today. Liszt's most famous piece for orchestra is the three portrait work Symphony after Goethe's Faust (the portraits include Faust, Gretchen, and Mephistopheles). A similar work, his Symphony of Dante's Divine Comedy, has three movements: Inferno, Purgatory, and Vision of Paradise. His most famous of the symphonic poems is Les Préludes (The Preludes) written in 1854.

His best-known works include nineteen Hungarian Rhapsodies, Piano concertos, Mephisto Waltzes, Faust Symphony, and Liebesträumes.

For more information and listening opportunities for Liszt selections, visit his page on ClassicFM.

We shift now from smaller compositions for small forces to larger-scale compositions written for entire orchestras.

6.10 Music of Hector Berlioz

Hector Berlioz (b. 1803–1869) was born in France in La Côte-Saint-André, Isère near Grenoble. His father was a wealthy doctor and planned on Hector's pursuing the profession of a physician. At the age of eighteen, Hector was sent to study medicine in Paris. Music at the Conservatory and at the Opera, however, became the focus of his attention. A year later, his family grew alarmed when they realized that the young student had decided to study music instead of medicine.

At this time, Paris was in a Romantic revolution. Berlioz found himself in in the company of novelist Victor Hugo and painter Delacroix. No longer receiving financial support from his parents, the young Berlioz sang in the theater choruses, performed musical chores, and gave music lessons. As a young student, Berlioz was amazed and intrigued by the works of Beethoven. Berlioz also developed interest in Shakespeare, whose popularity in Paris had recently increased with the performance of his plays by a visiting British troupe. Hector became impassioned for the Shakespearean characters of Ophelia and Juliet as they were portrayed by the alluring actress Harriet Smithson. Berlioz became obsessed with the young actress and also overwhelmed by sadness due to her lack of interest in him as a suitor. Berlioz became known for his violent mood swings, a condition known today as manic depression.

In 1830, Berlioz earned his first recognition for his musical gift when he won the much sought-after Prix de Rome. This highly-esteemed award provided him a stipend and the opportunity to work and live in Paris, thus providing Berlioz with the chance to complete his most famous work, the Symphonie Fastastique, that year.

Upon his return to Rome, he began his intense courtship of Harriet Smithson. Both her family and his vehemently opposed their relationship. Several violent and arduous situations occurred, one of which involved Berlioz's unsuccessfully attempting suicide. After recovering from this attempt, Hector married Harriet. Once the previously unattainable matrimonial goal had been attained, Berlioz's passion somewhat cooled, and he discovered that it was Harriet's Shakespearean roles that she performed, rather than Harriet herself, that really intrigued him. The first year of their marriage was the most fruitful for him musically. By the time he was forty, he had composed most of his famous works. Bitter from giving up her acting career for marriage, Harriet became an alcoholic. The two separated in 1841 Berlioz then married his long time mistress Marie Recio, an attractive but average singer who demanded to perform in his concerts.

To supplement his income during his career, Berlioz turned to writing as a music critic, producing a steady stream of articles and reviews. He successfully leveraged this vocation as a way to support his own works by persuading the audience to accept and appreciate them. His critical writing also helped to educate audiences so they could understand his complex and innovative pieces. As a prose writer, Berlioz wrote The Treatise on Modern Instrumentation and Orchestration. He also wrote Les Soirées de l'Orchestre (Evenings with the Orchestra), a compilation of his articles on musical life in nineteenth-century France, and an autobiography entitled Mémoires. Later in life, he conducted his music in all the capitals of Europe, with the exception of Paris. It was one location where the public would not accept his work; the Paris public would read his reviews and learn to welcome lesser composers, but they would not accept Berlioz's music. As over the years Berlioz saw his own works neglected by the public of Paris while they cheered and supported others, he became disgusted and bitter from the neglect. His last attempt to gain acceptance by the Parisian audiences was the opera Béatrice et Bénédict with his own libretto based upon Shakespeare's Much Ado about Nothing. But the Parisian public did not appreciate it. After this final effort, the disillusioned and embittered Berlioz composed no more in his seven remaining years, dying rejected and tormented at the age of sixty-six. Only after his death would France appreciate his achievements.

His operas include Benvenuto Cellini, Le Troyens, Béatrice et Bénédict, Les francs-juges (incomplete), Grande Messe des morts (Requiem), La damnation de Faust, Te Deum, and L'enfance du Christ.

His major orchestral compositions include Symphonie fantastique, Harold en Italie, Romeo et Juliette, The Corsair, King Lear, and Grande symphonie funèbre et triomphale. Berlioz is credited with changing the modern sound of orchestras.

Berlioz's Symphonie fantastique is important for several reasons: it is a program symphony, it incorporates an idée fixe (a recurring theme representing an ideology or person that provides continuity through a musical work), and it contains five movements rather than the conventional four.

6.11 Music of Johannes Brahms (1833–1897)

Whereas Berlioz's program symphony might be heard as a radical departure from earlier symphonies, the music of Johannes Brahms is often thought of as breathing new life into classical forms (see figure of Brahms). For centuries, musical concerts tended to feature works by living composers. In the nineteenth century that trend changed. By the time that Johannes Brahms was twenty, over half of all music performed in concerts was by composers who were no longer living; by the time that he was forty, that amount increased to over two-thirds. Brahms knew and loved the music of ancestors such as Bach, Handel, Haydn, Mozart, Beethoven, Schubert, and Schumann. He wrote in the genres they had developed, including symphonies, concertos, string quartets, sonatas, and songs. To these traditional genres and forms, he brought sweeping nineteenth-century melodies, much more chromatic harmonies, and the forces of the modern symphony orchestra. He did not, however, compose symphonic poems or program music as did Hector Berlioz and Franz Liszt.

Brahms himself was keenly aware of walking in Beethoven's shadow. In the early 1870s, he wrote to conductor friend Hermann Levi, "I shall never compose a symphony." Continuing, he reflected, "You have no idea how someone like me feels when he hears such a giant marching behind him all of the time." Nevertheless, some six years later, after a twenty-year period of germination, he premiered his first symphony. Brahms's music engages Romantic lyricism, rich chromaticism, thick orchestration, and rhythmic dislocation in a way that clearly goes beyond what Beethoven had done. Still, his intensely motivic and organic style, and his use of a four-movement symphonic model that features sonata, variations, and ABA forms is indebted to Beethoven.

The third movement of Brahms's First Symphony is a case in point. It follows the ABA form, as had most moderate-tempo, dance-like third movements since the minuets of the eighteenth-century symphonies and scherzos of the early nineteenth-century symphonies. This movement uses more instruments and grants more solos to the woodwind instruments than earlier symphonies did (listen especially for the clarinet solos). The musical texture is thicker as well, even though the melody always soars above the other instruments. Finally, this movement is more graceful and songlike than any minuet or scherzo that preceded it. In this regard, it is more like the lyrical character pieces of Chopin, Mendelssohn, and the Schumanns than like most movements of Beethoven's symphonies. But, it does not have an extra-musical referent; in fact, Brahms' music is often called absolute music, that is, music for the sake of music. The music might call to a listener's mind any number of pictures or ideas, but they are of the listener's imagination, from the listener's interpretation of the melodies, harmonies, rhythms, and textures written by Brahms. In this way, such a movement is very different than a movement from a program symphony such as Berlioz's Symphonie fantastique. Public opinion has often split over program music and absolute music. What do you think? Do you prefer a composition in which the musical and extra musical are explicitly linked, or would you rather make up your own interpretation of the music, without guidance from a title or story?

As noted at the beginning of this chapter, political and cultural nationalism strongly influenced many creative works of the nineteenth century. We have already observed aspects of nationalism in the piano music of Chopin and Liszt. Later nineteenth-century composers invested even more heavily in nationalist themes.

6.12 Music of Nationalism

Nationalism, found in many genres, is marked by the use of folk songs or nationalist themes in operas or instrumental music. Nationalist composers of different countries include Russian composers such as Modest Mussorgsky, Alexander Borodin, and Nikolai Rimsky-Korsakov (members of the "Kuchka"); Bohemian composers such as Antonin Dvorak and Bedřich Smetana; Hungarian composers such as Liszt; Scandinavian composers such as Edvard Grieg and Jean Sibelius; Spanish composers such as Enrique Granados, Joaquin Turina, and Manuel de Falla; and British composers such as Ralph Vaughn Williams.

Composers looked to their native as well as exotic (from other countries) music to add to their pallet of ideas. Nationalism was expressed in several ways:

• songs and dances of native people

• mythology: drmatic works based on folklore of peasant life

• (Tchaikovsky's Russian fairy-tale operas and ballets)

• celebration of a national hero, historic event, or scenic beauty of country

6.13 Music of Bedřich Smetana

Bedřich Smetana (b. 1824–1884) was born in Litomsyl, Bohemia while under Austrian rule (now the Czech Republic). Smetana was the son of a brewer and violinist and his father's third wife. Smetana was a talented pianist who gave public performances from the age of six. Bohemia under Austrian rule was politically very volatile. In 1848 Smetana aligned himself with those seeking independent state-hood from Austria. After that revolution was crushed, Prague and the surrounding areas were brutally suppressed—especially those areas and people suspected of being sympathetic to Bohemian nationalism. In 1856, Smetana left for Sweden to accept a conductorship post. He hoped to follow in the footsteps of such music predecessors as Liszt. He thus expresses his admiration, "By the grace of God and with His help, I shall one day be a Liszt in technique and a Mozart in composition."1

As a composer, Smetana began incorporating nationalist themes, plots, and dances in his operas and symphonic poems. He founded the Czech national school after he left Sweden and was a pioneer at incorporating Czech folk tunes, rhythms, and dances into his major works. Smetana returned to Bohemia in 1861 and assumed his role as national composer. He worked to open and establish a theatre venue in Prague where performances would be performed in their native tongue. Of his eight original operas, seven are still performed in native tongue today. One of these operas, The Bartered Bride, was and is still acclaimed. He composed several folk dances, including polkas for orchestra. These polkas incorporated the style and levity of his Bohemian culture.

Smetana also is known for composing the cycle of six symphonic poems entitled Ma Vlast. These poems are program music, representing the beautiful Bohemian countryside, Bohemian folk dance and song rhythms, and the pageantry of Bohemian legends.

The second of these, Vltava, (The Moldau) is recognized as Smetana's greatest orchestral work. Notes in the conductor's score state

The Moldau" represents an exceptional expression of patriotic or nationalistic music. The musical poem reflects the pride, oppression, and hope of the Bohemian people…

Two springs pour forth in the shade of the Bohemian Forest, one warm and gushing, the other cold and peaceful. Their waves, gaily flowing over rocky beds, join and glisten in the rays of the morning sun. The forest brook, hastening on, becomes the river Vltava (Moldau). Coursing through Bohemia's valleys, it grows into a mighty stream. Through thick woods it flows, as the gay sounds of the hunt and the notes of the hunter's horn are heard ever nearer. It flows through grass-grown pastures and lowlands where a wedding feast is being celebrated with song and dance. At night wood and water nymphs revel in its sparkling waves. Reflected on its surface are fortresses and castles—witnesses of bygone days of knightly splendor and the vanished glory of fighting times. At the St. John Rapids the stream races ahead, winding through the cataracts, heaving on a path with its foaming waves through the rocky chasm into the broad river bed—finally. Flowing on in majestic peace toward Prague and welcomed by time-honored Vyšehrad (castle.) Then it vanishes far beyond the poet's gaze."2

6.14 Music of Antonín Dvořák

Antonín Dvořák (b. 1841–1904) was born in a Bohemian village of Nelahozeves near Prague. Following in Smetana's footsteps, Dvořák became a leading composer in the Czech nationalism music campaign. Indeed, Dvořák and Smetana are considered the founders of the Czech national school. Dvořák, at the age of sixteen, moved to Prague. As a young aspiring violinist, Dvořák earned a seat in the Czech national Theater. Dvořák learned to play viola and became a professional violist; for a time in his career, he performed under Smetana. Dvořák became recognized by Brahms who encouraged Dvořák to devote his energy to composing. Early in his career he was musically under the German influence of Beethoven, Brahms, and Mendelssohn. Later, however, Dvořák explored his own culture, rooting his music in the dances and songs of Bohemia. Indeed, he never lost touch with his humble upbringing by his innkeeper and butcher father.

Dvořák's compositions received favorable recognition abroad and reluctant recognition at home. From 1892 to 1895, Dvořák served as director of the National Conservatory in the United States. During this time his compositions added American influences to the Bohemian. He fused "old world" harmonic theory with "new world" style. Very interested in American folk music, Dvořák took as one of his pupils an African-American baritone singer named Henry T. Burleigh who was an arranger and singer of spirituals. Dvořák's admiration and enthusiasm for the African-American spiritual is conveyed as he stated,

I am convinced that the future music of this country must be founded on what are called Negro melodies. These can be the foundation of a serious and original school of composition, to be developed in the United States. These beautiful and varied themes are the product of the soil. They are the folk songs of America and your composers must turn to them.3

The spirituals, along with Native American and cowboys songs, interested Dvořák and influenced his compositions for years to come. His love for this American folk music was contagious and soon spread to other American composers. Up until this point, American composers were under the heavy influence of their European counterparts. Dvořák's influence and legacy as an educator and composer can be traced in the music of Aaron Copland and George Gershwin. Although he gained much from his time in America, Dvořák yearned for his homeland to which he returned after three years away, resisting invitations from Brahms to relocate in Vienna. Dvořák desired the more simple life of his homeland where he died in 1904, shortly after his last opera, Armida, was first performed.

6.14.1 Music for Orchestra

During his lifetime, Dvořák wrote in various music forms, including the symphony. He composed nine symphonies in all, with his most famous being the ninth, From the New World (1893). This symphony was commissioned by the New York Philharmonic who premiered it in New York on December 16, 1893, the same year as its completion. The symphony was partially inspired from a Czech translation of Henry Wadsworth Longfellow's poem Hiawatha.

Dvořák also composed a cello concerto for solo instrument and orchestra, a violin concerto, and a lesser known piano concerto. Dvořák received recognition for Romance for solo violin and orchestra and Silent Woods for cello and orchestra. These two pieces make significant contributions to the solo repertoire for both string instruments.

Dvořák composed several piano duets that he later orchestrated for symphony orchestra. They include his ten Legends, two sets of Slavonic Dances, and three Slavic Rhapsodies. His overtures include In nature's realm, My Home, Carnival, Hussite, and Othello. He also composed a polonaise Scherzo capriccioso and the much admired Serenade for Strings. His symphonic poems poems include The World Dove, The Golden Spinning-Wheel, and The Noonday Witch.

6.14.2 Music for Chamber Ensembles

Dvořák also composed chamber music, including fourteen string quartets. No 12, the "American" Quartet, was written in 1893, the same year as the New World Symphony. Also from the American period, Dvořák composed the G major Sonatinas for violin and piano whose second movement is known as "Indian Lament." Of the four remaining found Dvořák piano trios, the Dumky trio is famous for using the Bohemian national dance form. His quintets for piano and strings or strings alone for listening enjoyment are much appreciated, as are his string sextet and the trio of two violins and viola, Terzetto.

Humoresque in G-flat major is the best known of the eight Dvorak's piano pieces placed in a set. He also composed two sets of piano duets entitled Slavonic Dances.

6.14.3 Operas

From 1870 to 1903, Dvořák wrote ten operas. The famous aria ‘O Silver Moon', 1900) from Rusalka is one of his most famous pieces. Dvořák wrote many of his operas with village theatres and comic village plots in mind—much the same as Smetana's The Bartered Bride. Other opera were based upon Czech legend.

6.14.4 Choral and Vocal Works

Several of Dvořák's choral works were composed for many of the amateur choral societies such as those found in Birmingham, Leeds, and London in England. The oratorio St. Ludmilla was composed for such societies, as were settings of the Mass, Requiem Mass, and the Te Deum which was first performed in 1892 in New York. Earlier choral works and settings, such as Stabat Mater and Psalm CXLIX, were performed in Prague 1879–1880.

Dvořák composed several songs, including the appreciated set of Moravian Duets for soprano and contralto. The most famous of his vocal pieces is the "Songs My Mother Taught Me" which is the fourth in the Seven Gypsy Songs, opus 55, set.

6.15 Music of Pyotr Tchaikovsky

Pyotr (Peter) Ilyich Tchaikovsky (1840–1893) was born in Votinsk, a small mining town in Russia. He was a son of a government official, and started taking piano at the age of five, though his family intended him to have a career as a government official. His mother died of cholera when he was fourteen, a tragedy that had a profound and lasting effect on him. He attended the aristocratic school in St. Petersburg called the School of Jurisprudence and, upon completion, obtained a minor government post in the Ministry of Justice. Nevertheless, Pyotr always had a strong interest in music and yearned to study it.

At the age of twenty-three, he resigned his government post and entered the newly created St. Petersburg Conservatory to study music. From the age of twenty-three to twenty-six, he studied intently and completed his study in three years. His primary teachers at the conservatory were Anton Rubinstein and Nikolai Zarembe, but he himself taught lessons while he studied. Upon completion, Tchaikovsky was recommended by Rubinstein, director of the school as well as teacher, to a teaching post at the new conservatory of Moscow. The young professor of harmony had full teaching responsibilities with long hours and a large class. Despite his heavy workload, his twelve years at the conservatory saw the composing of some of his most famous works, including his first symphony. At the age of twenty-nine, he completed his first opera Voyevoda and composed the Romeo and Juliet overture. At the age of thirty-three, he started supplementing his income by writing as a music critic, and also composed his second symphony, first piano concerto, and his first ballet, Swan Lake.

The reception of his music sometimes included criticism, and Tchaikovsky took criticism very personally, being prone as he was to (attacks of) depression. These bouts with depression were exacerbated by an impaired personal social life. In an effort to calm and smooth that personal life, Tchaikovsky entered into a relationship and marriage with a conservatory student named Antonina Ivanovna Miliukova in 1877. She was star struck and had fallen immediately and rather despairingly in love with him. His pity for her soon turned into unmanageable dislike to the point that he avoided her at all cost. Once in a fit of depression and aversion, he even strolled into the icy waters of the Moscow River to avoid her. Many contemporaries believe the effort was a suicide attempt. A few days later, nearly approaching a complete mental breakdown, he sought refuge and solace fleeing to his brothers in St. Petersburg. The marriage lasted less than a month.

At this darkest hour for Tchaikovsky, a kind, wealthy benefactress who admired his music became his sponsor. Her financial support helped restore Tchaikovsky to health, freed him from his burdensome teaching responsibilities, and permitted him to focus on his compositions. His benefactor was a widowed industrialist, Nadezhda von Meck, who was dominating and emotional and who loved his music. From her secluded estate, she raised her eleven children and managed her estate and railroads. Due to the social norms of the era, she had to be very careful to make sure that her intentions in supporting the composer went towards his music and not towards the composer as a man; consequently, they never met one another other than possibly through the undirected mutual glances at a crowded concert hall or theater. They communicated through a series of letters to one another, and this distance letter-friendship soon became one of fervent attachment.

In his letters to Meck, Tchaikovsky would explain how he envisioned and wrote his music, describing it as a holistic compositional process, with his envisioning the thematic development to the instrumentation being all one thought. The secured environment she afforded Tchaikovsky enabled him to compose unrestrainedly and very creatively. In appreciation and respect for his patron, Tchaikovsky dedicated his fourth symphony to Meck. He composed that work in his mid-thirties, a decade when he premiered his opera Eugene Onegin and composed the 1812 Overture.

Tchaikovsky's music ultimately earned him international acclaim, leading to his receiving a lifelong subsidy from the Tsar in 1885. He overcame his shyness and started conducting appearances in concert halls throughout Europe, making his music the first of any Russian composer to be accepted and appreciated by Western music consumers. At the age of fifty, he premiered Sleeping Beauty and The Queen of Spades in St. Petersburg. A year later, in 1891, he was invited to the United States to participate in the opening ceremonies for Carnegie Hall. He also toured the United States, where he was afforded impressive hospitality. He grew to admire the American spirit, feeling awed by New York's skyline and Broadway. He wrote that he felt he was more appreciated in America than in Europe.

While his composition career sometimes left him feeling dry of musical ideas, Tchaikovsky's musical output was astonishing and included at this later stage of his life two of his greatest [works]: The Nutcracker [ballet] and Iolanta [a one-act opera], both of which premiered in St. Petersburg. He conducted the premiere of his sixth symphony, Pathétique, in St. Petersburg as well, but received only a lukewarm reception, partially due to his shy, lack-luster personality. The persona carried over into his conducting technique that was rather reserved and subdued, leading to a less than emotion-packed performance by his orchestra.

A few days after the premiere, while he was still in the St. Petersburg, Tchaikovsky ignored warnings against drinking unboiled water, warnings due to the current prevalence of cholera there. He contracted the disease and died within a week at the age of fifty-three. Immediately upon his tragic death, the Symphonie Pathétique earned great acclaim that it has held ever since.

In the nineteenth century and still today, Tchaikovsky is among the most highly esteemed of composers. Russians have the highest regard for Tchaikovsky as a national artist. Igor Stravinsky stated, "He was the most Russian of us all!" (Taken from http://www.tchaikovsky-research.net/en/forum/forum0291.html.) Tchaikovsky incorporated the national emotional feelings and culture—from its simple countryside to its busy cities—into his music. Along with his nationalism influences, such as Russian folk song, Tchaikovsky enjoyed studying and incorporating German symphony, Italian opera, and French Ballet. He was comfortable with all of these disparate sources and gave all his music lavish melodies flooding with emotion.

Tchaikovsky composed a tremendously wide spectrum of music, with ten operas, including Eugene Onegin, The Maid of Orleans, Queen of Spades, and Iolanthe; internationally-acclaimed ballets, including Swan Lake, The Sleeping Beauty, The Nutcracker, Snow Maiden, and Hamlet; six symphonies, three piano concertos, various overtures, chamber music, piano solos, songs, and choral works.

6.16 Music of John Philip Sousa

John Philip Sousa, (b. Nov. 6, 1854–1939) was born in Washington, D.C. to a father, John Antonio Sousa, who played trombone in the U.S. Marine Band and a mother, Maria Elisabeth Trinkaus, of Bavarian descent. The young Sousa was raised in a very musical environment and began studying voice, violin, piano, flute, baritone, trombone, and alto horn when his peers were just beginning first grade.

Sousa was an adventurous young man. At the young age of thirteen, he unsuccessfully tried to run away to join a circus band. Immediately after this episode, his father enlisted him in the Marines as a band apprentice in the Marine Band. There he remained until he reached the age of twenty, complementing his Marine Band training in music by studying composition and music theory with the locally highly acclaimed orchestra leader, George Felix Benkert. During these early years with the Marine Band and under the music mentorship of Benkert, Sousa composed his first piece, Moonlight on the Potomac Waltzes.

Upon his honorable discharge from the Marines in 1875, the twenty-one year old Sousa began performing on violin and touring. While playing violin, Sousa performed under the baton of Jacques Offenbach at the Centenary Exhibition in Philadelphia and Sousa's music later showed Offenbach's influence. While playing the violin in various theater orchestras, Sousa learned to conduct, a skill he would use for the remainder of his career. This period of Sousa's career eventually led to his conducting Gilbert and Sullivan's H. M. S. Pinafore on Broadway in New York. In 1879, while conducting in Broadway, Sousa met Jane van Middlesworth, whom he married in December of that year. About a year later, Sousa assumed the leadership post of the Marine Band with the couple moving to Washington, D.C. Sousa conducted the Marine Band for the following twelve years, under the presidential administrations of Rutherford Hayes, James Garfield, Grover Cleveland, Chester Arthur, and Benjamin Harrison. Sousa composed and performed repertoire at the request of these presidents and their respective first families.

In 1886, Sousa's march The Gladiator received national recognition from military bandleaders. Two years later, he dedicated his newly composed march Semper Fidelis to the officers and men of the Marine Corps; that piece now is traditionally known as the "official" march of the Marine Corps.

The Marine Band made its first recordings under Sousa's leadership. The phonograph had just recently been invented, and the Columbia Phonograph Company, seeking a military band to record, selected the Marine Band. They first released sixty recording cylinders and, within the decade, recorded and released for sale more than 400 different titles. These recordings made Sousa's marches and their performance by the Marine Band among the most popular to be recorded.

Having achieved stardom, the Marine Band went on two limited but successful tours in 1891–92. After completing these tours, promoter David Blakely convinced Sousa to resign his post to organize a civilian concert band. Sousa did so, forming the New Marine Band, which was a concert rather than a marching band. After receiving criticism from Washington for using the word "Marine" in the title of his civilian band, Sousa eventually dropped it from its name. The new band's first performance was on September 26, 1892, in Stillman Music Hall in Plainfield, New Jersey. Two days prior to the concert, acclaimed bandmaster, Patrick Gilmore, died in St. Louis. Eventually, nineteen former musicians from Gilmore's band joined Sousa's band. The names of many of these nineteen musicians are still recognized today, including Herbert L. Clark on cornet and E. A. Lefebre on saxophone.

While conducting this new band, Sousa also continued to compose music. When vacationing in Europe with his wife in 1896, he received news that David Blakely had died. The couple immediately departed for home. During this time traveling back to the United States, Sousa wrote his most famous composition, The Stars and Stripes Forever.

From 1900 to 1910, the Sousa band toured extensively. Tours included performances in the United States, Great Britain, Europe, South Africa, Australia, Canada, New Zealand, Hawaii, and the South Pacific in the Canary Islands. These performances and tours contributed to Sousa's band's reputation as the most admired American band of its time.

After WWI, Sousa continued to tour with his band and became a champion and advocate for music education for all children; he also testified for composer's rights before Congress in 1927 and 1928. His success won him many titles and honorary degrees. Other successes included his serving as guest speaker and conductor for the Marine Band in Washington, D.C. in 1932, performing The Stars and Stripes Forever. Later that same year, following a rehearsal of the Ringgold Band in Reading, Pennsylvania, the seventy-seven-year-old Sousa passed away.

Sousa had composed 136 marches, many on the fly in preparation for a performance in the next town. Sousa's best-known marches:

• The Stars and Stripes Forever

• Semper Fidelis

• The Thunderer

• King Cotton

Other famous marches include The Washington Post, The Liberty Bell, Daughters of Texas, and Manhattan Beach.

Sousa also wrote ten operas, including El Capitan, The Queen of Hearts, The Smugglers, and Desiree, as well as a series of music suites and seventy songs. Besides writing music, he authored several articles and letters to the editors on various subjects and wrote three novels, The Fifth String, Pipedown Sandy, and The Transit of Venus. Marching Along was his comprehensive autobiography.

A sign of his continuing fame, dedications and recognitions to the Sousa name include: a memory dedication of the newly-built 1939 Pennsylvania Avenue Bridge across the Anacostia River in Washington D.C., renaming of the of the Marine Barracks band hall in his honor in 1974, and many others. In 1987, The Stars and Stripes Forever march was designated as the national march of the United States. Sousa became known as the "March King."

For more information on Sousa, Read his New York Times obituary.

Focus Composition: The Stars and Stripes Forever by John Philip Sousa (1896)

We conclude this chapter with a consideration of two nationalist composers who made enduring contributions to the opera form. Some critics consider the opera form quintessential to the nineteenth-century music world.

6.17 Music of Giuseppe Verdi

Giuseppe Verdi (1813–1901) succeeded Gioacchino Rossini as the most important Italian opera composer of his day. Living during a time of national revolution, Verdi's music and name become associated with those fighting for an Italy that would be united under King Emmanuel. A chorus from one of his early operas about the ancient enslaved Hebrews would become a political song for Italian independent fighters. His last name, V.E.R.D.I. would become an acronymn for a political call to rally around King Emmanuel. Although Verdi shied away from the political limelight, he was persuaded to accept a post in the Italian parliament in 1861.

As was the case with many sons of nineteenth-century middle-class families, Verdi was given many and early opportunities to further his education. He began music instruction with local priests before his fourth birthday. Before he turned ten, he had become organist of the local church, and he continued music lessons alongside lessons in languages and the humanities through his adolescence. He assumed posts as music director and then in 1839 composed his first opera. Like his predecessor, Rossini, Verdi would prove to be a prolific composer, writing 26 operas in addition to other large-scale choral works. Like Rossini's music, Verdi's music used recitatives and arias, now arranged in the elaborate scena ed aria format, with an aria that contained both slower cantabile and faster cabaletta. Verdi, however, was more flexible in his use of recitatives and arias and employed a much larger orchestras than previous Italian opera composers, resulting in operas that were as dramatic as they were musical. His operas span a variety of subjects, from always popular mythology and ancient history to works set in his present that participated in a wider artistic movement called verismo, or realism.

Focus Composition: Verdi, Excerpt from La Traviata (1853)

A good example of his operatic realism can be found in La Traviata, or The Fallen Woman (1853). This opera was based on a play by Alexandre Dumas. Verdi wanted it to be set in the present, but the censors at La Fenice, the opera house in Venice that would premiere the opera, insisted on setting it in the 1700s instead. Of issue was the heroine, Violetta—a companion-prostitute for the elite aristocrats of Parisian society—with whom Alfredo, a young noble, falls in love. After wavering over giving up her independence, Violetta commits herself to Alfredo, and they live a blissful few months together before Alfredo's father arrives and convinces Violetta that she is destroying their family and the marriage prospects of Alfredo's younger sister. In response, Violetta leaves Alfredo without telling him why and goes back to her old life. Alfredo is angry and hurt and the two live unhappily apart. A consumptive, that is, one suffering from tuberculosis, Violetta declines and her health disintegrates. Alfredo's father has a crisis of conscience and confesses to his son what he has done. Alfredo rushes to Paris to reunite with Violetta. The two sing a love duet, but it is soon clear that Violetta is very ill, and in fact, she dies in Alfredo's arms, before they can go to the church to be married. In ending tragically, this opera ends like many other nineteenth-century tales.

Verdi wrote this opera mid-century with full knowledge of the Italian opera before him. Like his contemporary, Richard Wagner, Verdi wanted opera to be a strong bond of music and drama. He carefully observed how German opera composers such as Carl Maria von Weber and French Grand Opera composers such as Giacomo Meyerbeer had used much larger orchestras than had previous opera composers, and Verdi himself also employed a comparably large ensemble for La Traviata. Verdi also believe in flexibly using the operatic forms he had inherited, and so although La Traviata does have arias and recitatives, the recitatives are more varied and lyrical than before and the alternation between the recitatives, arias, and other ensembles, are guided by the drama, instead of the drama having to fit within the structure of recitative-aria pairs.

A good example is "La follie…Sempre libera" from the end of Act I in which Violetta debates whether she is ready to give up her independence for Alfredo. Although at the end of the aria it seems that she has decided to remain free, Act II begins with the two lovers living happily together, and we know that the vocal injections sung by Alfredo as part of Violetta's recitative and aria of Act I have prevailed. This piece is also a good example of how virtuosic opera had gotten by the end of the nineteenth century. Earlier Italian opera had been virtuosic in its use of ornamentation. Verdi, however, required a much wider range of his singers, and this wider range is showcased in the scene we'll watch. Violetta has a huge vocal range and performers must have great agility to sing the melismas in her part. As an audience, we are awed by her vocal prowess, a fitting response, given her character in the opera.

6.18 Music of Richard Wagner

If Verdi continued the long tradition of Italian opera, Richard Wagner provided a new path for German opera. Wagner (1813–1883) may well have been the most influential European composer of the second half of the nineteenth century. Never shy about self-promotion, Wagner himself clearly thought so. Wagner's influence was both musical and literary. His dissonant and chromatic harmonic experiments even influenced the French, whose music belies their many verbal denouncements of Wagner and his music. His essays about music and autobiographical accounts of his musical experiences were widely followed by nineteenth-century individuals, from the average bourgeois music enthusiast to philosophers such as Friedrich Nietzsche. Most disturbingly, Wagner was rabidly anti-Semitic, and generations later his writing and music provided propaganda for the Nazi Third Reich.

Born in Leipzig, Germany, Wagner initially wanted to be a playwright like Goethe, until as a teenager he heard the music of Beethoven and decided to become a composer instead. He was particularly taken by Beethoven's Ninth Symphony and the addition of voices as performing forces into the symphony, a type of composition traditionally written for orchestra. Seeing in this work an acknowledgment of the powers of vocal music, Wagner set about writing vocal music. Coming to age during a time of rising nationalism, Wagner criticized Italian opera as consisting of cheap melodies and insipid orchestration unconnected to its dramatic purposes, and he set about providing a German alternative. He called his operas "music dramas" in order to emphasize a unity of text, music, and action; and declared that they would be Gesamtkunstwerk, or "total works of art." As part of his program, he wrote his own librettos and aimed for what he called unending melody: the idea was for a constant lyricism, carried as much by the orchestra as by the singers.

Perhaps most importantly, Wagner developed a system of what scholars have come to call Leitmotifs. Leitmotifs, or "guiding motives," are musical motives that are associated with a specific character, theme, or locale in a drama. Wagner integrated these musical motives in the vocal lines and orchestration of his music dramas at many points. Wagner believed in the flexibility of such motives to reinforce an overall sense of unity within his compositions, even if primarily at a subconscious level. Thus, while a character might be singing a melody line using one Leitmotiv, the orchestration might incorporate a different Leitmotiv, suggesting a connection between the referenced entities.

Wagner also designed and built a theatre for the performance of his own music dramas. The Festival Theatre in Bayreuth, Germany was the first to use a sunken orchestra pit, and its huge backstage area allowed for some of the most elaborate sets of Wagner's day. It was here that his famous cycle of music dramas, The Ring of the Nibelungen, was performed, starting in 1876. The Ring of the Nibelungen consists of four music dramas with over fifteen hours of music. Wagner took the story from a Nordic mythological legend that stems back to the Middle Ages. In it, a piece of gold is stolen from the Rhine River and fashioned into a ring, which gives its bearer ultimate power. The cursed ring changes hands, causing destruction around whoever possesses it. Eventually, the ring is returned to the Rhine River, thereby closing the cycle. Into that story, which some may recognize from the much later fiction of J. R. R. Tolkien's Lord of the Rings, Wagner interwove stories of the Norse gods and men. Wagner's four music dramas trace the saga of the king of the gods, Wotan, as he builds Valhalla, the home of the gods, and attempts to order the lives of his children, including that of his daughter, the valkyrie warrior Brünnhilde.

Focus Composition: Conclusion to Die Walküre (The Valkyrie, 1876)

In the excerpt we'll watch from the end of The Valkyrie, the second of the four music dramas, Brünnhilde has gone against her father, and, because Wotan cannot bring himself to kill her, he puts her to sleep before encircling her with flames, a fiery ring that both imprisons and protects his daughter. This excerpt provides several examples of the Leitmotifs for which Wagner is so famous. Their presence, often subtle, is designed to guide the audience through the drama. They include melodies, harmonies, and textures that represent Wotan's spear, the god Loge—a shape-shifting life force that here takes the form of fire—sleep, the magic sword, and fate. The sounds of these motives is discussed briefly below and accompanied by excerpts from the musical score for those of you who can read musical notation.

The first motive heard in the video you will watch is Wotan's Spear. The spear represents Wotan's power. In this scene, Wotan is pointing it toward his daughter Brünnhilde, ready to conjure the ring of fire that will both imprison and protect here. Representing a symbol of power, the spear motive is played at a forte dynamic by the lower brass. Here it descends in a minor scale that reinforces the seriousness of Wotan's actions.

Wotan commands Loge to appear and suddenly the music breaks out in a completely different style. Loge's music—sometimes also referred to as the magic fire music—is in a major key and appears in upper woodwinds such as the flutes. Its notes move quickly with staccato articulations suggesting Loge's free spirit and shifting shapes.

Depicting Brünnhilde's descent into sleep, Wagner wrote a chromatic musical line that starts high and slowly moves downward. We call this phrase the Sleep motive:

After casting his spell, Wotan warns anyone who is listening that whoever would dare to trespass the ring of fire will have to face his spear. As the drama unfolds in the next opera of the tetralogy, one character will do just that: Siegfried, Wotan's own grandson. He will release Brünnhilde using a magic sword. The melody to which Wotan sings his warning with its wide leaps and overall disjunct motion sounds a little bit like the motive representing Siegfried's sword.

One final motive is prominent at the end of The Vakyrie, a motive which is referred to as Fate. It appears in the horns and features three notes: a sustained pitch that slips down just one step and then rises the small interval of a minor third to another sustained pitch.

Now that you've been introduced to all of the leitmotivs in the excerpt, follow along with the listening guide. As you listen, notice how prominent the huge orchestra is throughout the scene, how it provides the melodies, and how the strong and large voice of the bass-baritone singing Wotan soars over the top of the orchestra (Wagner's music required larger voices than earlier opera as well as new singing techniques). See if you can hear the Leitmotifs, there to absorb you in the drama. Remember that this is just one short scene from the midpoint of the approximately fifteen-hour-long tetralogy.

6.19 Chapter Summary

As we have seen, nineteenth-century music was diverse and pervasive. Music was a part of everyday life, as middle class children received music education and as concerts became important social events across social strata. Aesthetic movements of Romanticism, Realism, Exoticism, and cultural nationalism shaped musical styles. Composers such as Franz Schubert, Felix and Fanny Mendelssohn, Robert and Clara Schumann, Fryderyk Chopin, Franz Liszt, Hector Berlioz, Johannes Brahms, Bedřich Smetana, Antonín Dvořák, John Philip Sousa, Pyotr Tchaikovsky, Giuseppe Verdi, and Richard Wagner wrote eclectic music across German, French, Italian, Czech, Polish, American, and Russian lands. Many of them continued with genres developed in the Baroque and classical periods, such as the concerto, symphony, opera, and oratorio, while others forged new paths, especially as music and poetry, drama, and visual art interacted in such new genres as the art song, piano character piece, program symphony, symphonic poem, and music drama, or opera. Despite the larger performing forces that were available, composers continued to privilege singable melodies, even if they were much more chromatic than before. These transformations of musical form and harmony continued into the early twentieth century as musicians sought to be more modern than ever before and, in so doing, questioned the very foundations basic to music of the previous two centuries.

6.20 Glossary

Art song

a composition setting a poem to music, generally for one solo voice and piano accompaniment; in German, a Lied

Chamber music

music—such as art songs, piano character pieces, and string quartets—primarily performed in small performing spaces, often for personal entertainment

Chromaticism

use of "colorful," dissonant pitches, that are not included in the key of the composition

Concerto

a composition for a soloist or a group of soloists and an orchestra, generally in three movements with fast, slow, and fast tempos, respectively

Conductor

The person who leads an orchestra

Drone

a sustained pitch or pitches often found in music of the middle ages or earlier and in folk music

Idée fixe

a famous melody that appears in all five movements of Berlioz's Symphonie fantastique to represent the beloved from the program

Leitmotif

"guiding motive" associated with a specific character, theme, or locale in a music drama, and first associated with the music of Richard Wagner

Mazurka

a Polish dance in triple time, with emphasis on beat 2

Nationalism

pride in one's nation or cultural identity, often expressed in art, literature, and music

Opera

a drama almost entirely sung to orchestral accompaniment, with accompanying costumes and staging

Plagal cadence

ending of a composition that consists of a IV chord moving to a I chord and most often associated with church music

Program music

instrumental music intended to represent a something extra musical such as a poem, narrative, drama, or picture, or the ideas, images, or sounds therein

Program symphony

program music in the form of a multi-movement composition for orchestra

Rubato

the momentary speeding up or slowing down of the tempo within a melody line, literally "robbing" time from one note to give to another

Scena ed aria

nineteenth-century operatic combination of a recitative ("scena") plus aria; here the aria generally has two parts, a slower cantabile and a faster cabaletta

Sonata

composition for a solo instrument or an instrument with piano accompaniment, generally in three movements with fast, slow, and fast tempos, respectively

Sonata form

a form often found in the first and last movements of sonatas, symphonies, and string quartets, consisting of three parts – exposition, development, and recapitulation

Song cycle

a collection of art songs, unified by poet, narrative, musical style, or composer

String quartet

performing ensemble consisting of two violinists, one violinist, and one cellist that plays compositions called string quartets, compositions generally in four movements

Strophic

a composition that uses the repetition of the same music ("strophes") for successive texts

Symphonic poem

program music in the form of a single-movement composition for orchestra; sometimes called a tone poem

Symphony

multi-movement composition for orchestra, often in four movements

Ternary form

describes a musical composition in three parts, most often featurings two similar sections, separated by a contrasting section and represented by the letters A – B – A.

Through-composed

a movement or composition consisting of new music throughout, without repetition of internal sections

6.21 Footnotes

1Taken from his diary, 23 January, 1845 found http://www.quotesquotations.com/biography.

2Preface to the original score, Philharmonic Symphony Society of New York, The Concert Companion p. 672

3Gutmann, Peter. Dvorak's "New World" Symphony. Classical Classics. Classical Notes. Retrieved 2012–09-09.