Romantic Theme Music Mp3 Download !!EXCLUSIVE!!

I'm Matthew Chilelli - a composer for film, TV, and games. I've been working in the industry since 2007, winning an Emmy award for music composition in 2009 for my work on the PBS pilot, The Purple Couch.

To me, the most important element of a score or soundtrack is the emotion it conveys. I strive to consistently deliver music that tugs at your heartstrings, sends shivers down your spine, and makes your pulse race.

Romantic Theme Music Mp3 Download

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Romantic composers sought to create music that was individualistic, emotional, dramatic and often programmatic; reflecting broader trends within the movements of Romantic literature, poetry, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature,[2] literature,[2] poetry,[2] super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms.[3]

The Romantic movement was an artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe and strengthened in reaction to the Industrial Revolution.[4] In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature (Casey 2008). It was embodied most strongly in the visual arts, music, literature,[5] and education,[6] and was in turn influenced by developments in natural history.[7]

One of the first significant applications of the term to music was in 1789, in the Mmoires by the Frenchman Andr Grtry, but it was E. T. A. Hoffmann who established the principles of musical romanticism, in a lengthy review of Ludwig van Beethoven's Fifth Symphony published in 1810, and an 1813 article on Beethoven's instrumental music. In the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was Hoffmann's fusion of ideas already associated with the term "Romantic", used in opposition to the restraint and formality of Classical models, that elevated music, and especially instrumental music, to a position of pre-eminence in Romanticism as the art most suited to the expression of emotions. It was also through the writings of Hoffmann and other German authors that German music was brought to the center of musical Romanticism.[8]

In music, there is a relatively clear dividing line in musical structure and form following the death of Beethoven. Whether one counts Beethoven as a "romantic" composer or not, the breadth and power of his work gave rise to a feeling that the classical sonata form and, indeed, the structure of the symphony, sonata and string quartet had been exhausted.[14]

Events and changes in society such as ideas, attitudes, discoveries, inventions, and historical events often affect music. For example, the Industrial Revolution was in full effect by the late 18th century and early 19th century. This event profoundly affected music: there were major improvements in the mechanical valves and keys that most woodwinds and brass instruments depend on. The new and innovative instruments could be played with greater ease and they were more reliable.[15]

Another development that affected music was the rise of the middle class.[2] Composers before this period lived under the patronage of the aristocracy. Many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music.[15] The Romantic composers, on the other hand, often wrote for public concerts and festivals, with large audiences of paying customers, who had not necessarily had any music lessons.[15] Composers of the Romantic Era, like Elgar, showed the world that there should be "no segregation of musical tastes"[16] and that the "purpose was to write music that was to be heard".[17]

"The music composed by Romantic [composers]" reflected "the importance of the individual" by being composed in ways that were often less restrictive and more often focused on the composer's skills as a person than prior means of writing music.[2]

During the Romantic period, music often took on a much more nationalistic purpose. Composers composed with a distinct sound that represented their home country and traditions. For example, Jean Sibelius' Finlandia has been interpreted to represent the rising nation of Finland, which would someday gain independence from Russian control.[18]

Frdric Chopin was one of the first composers to incorporate nationalistic elements into his compositions. Joseph Machlis states, "Poland's struggle for freedom from tsarist rule aroused the national poet in Poland. ... Examples of musical nationalism abound in the output of the romantic era. The folk idiom is prominent in the Mazurkas of Chopin".[19] His mazurkas and polonaises are particularly notable for their use of nationalistic rhythms. Moreover, "During World War II the Nazis forbade the playing of ... Chopin's Polonaises in Warsaw because of the powerful symbolism residing in these works".[19]

Other composers, such as Bedich Smetana, wrote pieces that musically described their homelands. In particular, Smetana's Vltava is a symphonic poem about the Moldau River in the modern-day Czech Republic, the second in a cycle of six nationalistic symphonic poems collectively titled M vlast (My Homeland).[20] Smetana also composed eight nationalist operas, all of which remain in the repertory. They established him as the first Czech nationalist composer as well as the most important Czech opera composer of the generation who came to prominence in the 1860s.[21]

While movie music buffs can debate whether John Williams' Star Wars score is truly the greatest film score of all time, the composer has certainly created the most recognizable musical universe ever to accompany a motion picture. The familiarity and resonance of the score has grown with each new installment of the series, and Williams has continued to develop new themes for the expanding cast of characters having adventures a long time ago, in a galaxy far, far away.

The ultimate influence on Williams's vision for Star Wars was Richard Wagner, whose Ring cycle combines a wealth of musical ideas that would inform Williams's work. Daringly dissonant and boldly dramatic for its time, Wagner's four-opera cycle was the original "cinematic" composition, its lurid Romantic vocabulary providing the basic toolbox for a century's worth of film composers.

The grandly Romantic theme from Swan Lake is also echoed in Williams's love theme for Han and Leia, from The Empire Strikes Back. Whether or not Williams was explicitly thinking about a dying swan as he penned this elegiac music, he was certainly going for that feeling that a curtain (of stars?) is about to fall.

Whether you'd go so far as to call this a "cinematic swipe," it's no shocker that Williams looked to channel Korngold, whose music for classic films like The Adventures of Robin Hood (1938) and The Sea Hawk (1940) is clearly the immediate template from which Williams was working with Star Wars and his other best-known film scores.

Stravinsky's influence on Star Wars might have come by way of Fantasia, where his instantly infamous Rite of Spring was used to soundtrack a desiccated landscape where dinosaurs marched to their deaths. As C-3PO and R2-D2 survey the barren sands of Tatooine, classical music fans must have wondered when a young Twi'lek was going to dance herself to death.

John Williams created the most recognizable musical universe ever to accompany a motion picture when he composed the music for the 'Star Wars' films. But what classical compositions influenced the great film composer?

Henri Duparc (1848-1933) was a French composer in the middle to late nineteenth century. He was highly involved in the musical world and knew a lot of his Romantic contemporaries including Liszt, Wagner and his piano teacher Csar Franck. But his story is a sad one, due to a neurasthenic condition that caused him to destroy almost all of the music he composed. He was far from insane, but the condition caused him to be extremely sensitive and self-critical about his music and later left him blind and laterally paralyzed until his death. The only songs that Duparc left was a book of twelve Romantic art songs that he composed between 1868 and 1884. Everything else he wrote was destroyed and in 1885, Duparc stopped composing and for the last, almost fifty years of his life he never composed again.

It is sad that the misinformation from old sources continues to be republished about the output from Henri Duparc. Many of his works have survived, some of them due to efforts by his wife, I understand, and some from other sources, apparently including publisher(s) who kept print masters or manuscripts. I have copies of more than double the amount suggested by the Duparc fan who wrote this blog or whatever it is in wordpress; 2015/03/06/romantic-themes-in-the-music-of-duparc, and anybody with any diligence could find the same and perhaps more, for I found all my copies on-line!

Paul

The single contains the first opening and ending themes of the season as well as their original karaoke versions with the melody. The DVD includes original melody karaokes of the opening and endings, as well as credit-less versions of the opening and ending video clips as seen in the season.

I was at Disney World in September and decided then to do a Disney themed recital this spring. Each student will play a Disney themed piece and one other piece.

Last year I did folk songs from around the world and the year before was composers before the year 1900. 2351a5e196