Art of the Romantic Period

During the quixotic purpose, composers had shown their sen quantifyntalist side. The expressive part in all artists was being shown. The love in art, the variety of bold colors, the freedom of expression, and how one feels through the croak of a piano or violin, it was all being shown. Much of what the uncorrupted tip was still remained during the romantic period, but to most, the romantic period was so much more than. The medicinal drug was more aflame and expressive, and had even influenced artists that werent symphonyians to be romantic as well.All artists were becoming the romantics of the time, and what a time it was for the arts. The romantic period will unceasingly be remembered as a time in history when passion was all important(p), expression was used, and emotion was seen and heard. There ar many characteristics involved in the romantic period. The individuality of style was an important characteristic. Each composer had his own style that showed his innermost feelings through and expressed emotional piece of be given. Expressive aims and motifs were also important during this period.The romantics explored a universe of feelings that include intimacy and flamboyance, melancholy and unpredictability, longing and rapture wild-eyedism (1820-1900) in music was brought to the world during the early nineteenth century. This music stressed emotion, imagination, and individualism. The quixotic period was about freedom of expression and breaking away from time-honored conventions. This period in time had influenced many, or even all of the arts. Painters used bolder and more brilliant colors in their works. Also, they had preferred dynamic motion to gracefully balanced poses.Poetry was also changed during the romantic period. Emotional subjectivity was a basic quality in every type of art during this time. legion(predicate) artists had become romantics and had become drawn to the realm of fantasy the unconscious, the irrational, and the worl d of dreams. amatorys were spell-bound with the center(a) age, the time of chivalry and romance. What neoclassicists had thought of to be the dark ages, the romantics had cherished. The feeling of revolution was a dedication to the principles of equality, close, and a representative government. (Bishop 323) With the overthrow ofKings in America and France it did not stop the injustices or establish a utopia of reason. With the middle class growing a society essential and a brisk sensibility arose called romanticism, which glorified the individual and prized feelings over reason and intellect. This period of revolutionary change and romantic reaction (1775-1850) laid down the principles, and discovered the demons of the number 1 modern society. (Bishop 323) Elements of romantic art and literature came about to respond to diametric social and historical circumstances. Poets of this time argued against the social injustices of early society.A adult female named Mary Wollst onecraft wanted equal rights for woman, and a Spanish painter Goya piercingly depicted the cruelty of war. Authors in England and North America such as Wordsworth and Emerson saw nature as a mirror of the human imagination. Painters developed now techniques of color and light to render the natural landscapes sublime beauty. Other community sought escape in the past, and had a taste for picturesque medieval architecture. As the industrial life became sluggish and mechanical, the lure of exotic lands spurred the imaginations of architects such as Nash and painters such as Delacroix and Ingres.The people of the romantic age were fascinated with evil, the demonic, and the grotesque and the dark side of things that were reflected in the brisk, with its medieval setting and tortured characters. The most famous Gothic novel was Mary Shelleys Frankenstein, which was a summation of the romantic motifs the genius, the noble savage, the protestation against injustice, and the fascination with evil. At one point in the study of the Romantic period of music, we come upon the first of several app bently opposing conditions that fire all attempts to grasp the meaning of Romantic as applied to the music of the nineteenth century.This opposition involved the relation between music and words. If implemental music is the perfect Romantic art, why is it acknowledged that the great know of the symphony, the highest orchestrate of instrumental music, were not Romantic composers, but were the Classical composers, Haydn, Mozart, and van Beethoven? Moreover, one of the most characteristic 19th century genres was the Lied, a point-blank piece in which Shubert, Schumann, Brahams, and Wolf attained a new coalescency between music and poetry.Furthermore, a large number of leading composers in the 19th century were extremely interested and articulate in literary expression, and leading Romantic novelists and poets wrote about music with deep love and insight. The difference be tween the ideal of pure instrumental music (absolute music) as the ultimate Romantic mode of expression, and the strong literary orientation of the 19th century, was inflexible in the conception of program music. Program music, as Liszt and others in the 19th century used the term, is music associated with poetic, descriptive, and even narrative subject takings.This is through with(p) not by means of musical figures imitating natural sounds and movements, but by imaginative suggestion. Program music aimed to absorb and transmit the imagined subject matter in such a way that the resulting work, although programmed, does not sound forced, and transcends the subject matter it seeks to represent. Instrumental music thus became a vehicle for the phonation of thoughts which, although first hinted in words, may ultimately be beyond the queen of words to fully express. Practically every composer of the era was, to some degree, write program music, weather or not this was publicly ackn owledged.One reason it was so easy for listeners to connect a scene or a story or a poem with a piece of Romantic music is that often the composer himself, perhaps unconsciously, was working from some such ideas. Writers on music projected their own conceptions of the expressive functions of music into the past, and read Romantic programs into the instrumental works not only of Beethoven, but also the likes of Mozart, Haydn, and bach The diffused scenic effects in the music of such composers as Mendelssohn and Schumann seem pale when compared to the feverish, and detailed drama that constitutes the story of Berliozs Symphonie fantastique (1830).Because his imagination always seemed to run in parallel literary and musical channels, Berlioz once subtitled his work Episode in the life of an artist, and provided a program for it which was in effect a piece of Romantic autobiography. In later years, he conceded that if necessary, when the symphony was performed by itself in concert, the program would need not be given out for the music would of itself, and irrespective of any dramatic aim, ply an interest in the musical sense alone. The principle formal sledding in the symphony is the recurrence of the opening theme of the first Allegro, the idee fixe.This, harmonise to the program, is the obsessive image of the heros beloved, that recurs in the other movements. To mention another casing in the coda of the Adagio there is a passage for only English horn and four Tympani intended to suggest unconnected thunder. The foremost composer of program music after Beriloz was Franz Liszt, twelve of whose symphonic poems were written between 1848 and 1858. The name symphonic poem is significant these pieces are symphonic, but Liszt did not call them symphonies, presumably because or their short length, and the feature that they are not divided up into movements.Instead, each is a continuos form with various sections, more or less varied in footstep and character, and a few themes that are varied, developed, or repeated within the jut of the work. Les Preludes, the only one that is still played much today, is well designed, melodious, and efficiently scored. However, its idiom causes it to be rhetorical in a sense. It forces todays listeners to here abundantly excessive emotion on ideas that do not seem sufficiently important for such a display of feeling.