This document provides an overview of Romantic period music and highlights some key Romantic composers. It discusses characteristics of Romantic music like emotional subjectivity, individual styles, nationalism, program music, and expanded dynamics/ranges. Two influential Italian opera composers are summarized - Giuseppe Verdi, known for his nationalist operas with political themes, and Giacomo Puccini, known for his verismo style focusing on realistic drama. The document also briefly outlines the German composer Richard Wagner, known for his large-scale operas and use of leitmotifs.

1. Music: An Appreciation, Brief 7 th Edition by Roger Kamien Part V The Romantic Period Opera 2011 © McGraw-Hill Higher Education

2. Romanticism (1820-1900) Stressed emotion, imagination and individualism Emotional subjectivity basis of arts Favorite artistic topics: Fantasy and the supernatural Period of the Industrial Revolution Resulted in social and economic changes Middle Ages/concept of chivalry & romance Nature: as mirror of the human heart Architecture revived Gothic elements

3. Individuality of Style Characteristics of Romantic Music Composers want uniquely identifiable music Expressive Aims and Subjects Dark topics draw composers All approaches were explored: Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … Romantic love still focus of songs & operas Lovers frequently depicted as unhappy and facing overwhelming obstacles Nationalism and Exoticism Nationalism : music with a national identity Exoticism : intentionally imply foreign culture Frequently in operas with foreign settings

4. Program Music Association with a story/poem/idea/scene Expressive Tone Color Composers tried to create unique sounds Understanding the music enhanced through reading program or viewing associated work Blending of existing instruments Addition of new instruments Tone color important to emotional content Colorful Harmony Chords built w/ notes not in traditional keys Harmonic instability consciously used device

5. Expanded Range of Dynamics, Pitch & Tempo Dynamics ff, pp expanded to ffff & pppp Forms: Miniature and Monumental Some composers went on for hours Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo Others music lasted only a few minutes Written for a single instrument Required hundreds of performers Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other Classically traditional works

6. Ch. 16 - Giuseppe Verdi Italian (1813-1901) Studied in Busseto & Milan Supported by patron Married patron’s daughter Mid- and late Romantic composer Wrote operas with political overtones Nationalist, supported unification of Italy Wrote for middle-class audience who enjoyed opera Critics blasted his scandalous subjects Seemed to condone rape, suicide, and “free love” Verdi’s Music Favorite topic: love story w/ unhappy ending Powerful music summons up heroes & villains Known for opera

7. Ch. 17 - Giacomo Puccini Italian (1858-1924) Known primarily for operas Late-Romantic composer Became wealthy and world famous due to the popularity of his music Made use of Exoticism, setting his operas in foreign places Short melodies, simple phrases, and realistic dialog Artistic style verismo (reality): “true to life” Opera La Boh è me 1 st major success

8. Listening La Boheme (1896) by Puccini Act I: Scene between Rodolfo and Mimi through Rodolfo’s aria: Che gelida manina (How cold your little hand is!) Storyline of meeting of Rodolfo and Mimi Vocal Music Guide: p. 260 Basic Set, CD 7:01 Brief Set, CD 4:28 Note: Dialog is more realistic Tempo shifts to accentuate music & text

9. Ch. 18 - Richard Wagner German (1813-1883) Wrote in many styles, famous for opera Later moved to Paris—did not work out Mid to late Romantic composer Studied in Germany His works were large, full blown affairs Lived large off of others—ran up debts Adapted id è e fixe to leitmotif approach Wagner’s Music Huge orchestrations for operas Requires big voices to be heard No recitatives & arias—just non-stop music Returned to Germany, got in trouble Finally settled & succeeded in Munich, Bavaria

10. Listening Die Walk ü re ( The Valkyrie , 1856) by Wagner Act I: Love Scene, Conclusion Storyline of the Ring Cycle & this scene Listening Guide: p. 268 Basic Set, CD 7:05 Brief Set, CD 4:30 Note: Huge production, large orchestrations Big, powerful voices required Several leitmotifs (sword leitmotif; love and spring )