The Romantic Era
(1820-1900)
•Romantic ≠ romantic (someone involved in
romance)
•Movement in music, visual art, literature,
poetry, politics, philosophy, etc….
•Evolution of Classical Era, not innovative
–Carries on Beethoven’s tradition
–Expansion > Invention
–Use of exaggeration within established
techniques for emotional portrayal
The Romantic Era’s
Expansions
•Revolutions and Wars result in
•Nationalism: The use in art of materials that are identifiably national or
regional in character (folklore, myth, patriotism).
•Discarding the importance of the aristocracy results in
•A fascination with the working and lower class
•A desire to escape the effects of the Industrial Revolutions results in a
fascination with:
•The Sublime: Nature as God; the spiritualization of nature as a deeply
personal and secret world, filled with awe and power.
•The sea, storms, floods, etc.
•Exoticism: “The exotic East”
•The realm of fantasy: The domains of imagination, dreams, drugs
*All of these work in artistic efforts to above all else, portray the inner
emotions of the individual.*
The Romantic Era
(1820-1900)
• The “Byronic hero”: a powerful voice in Romantic literature who fascinated
Romantic artists. Created a model for rebellious youth characterized by
– Long, flowing hair, open shirt collar
– Moody, passionate
– Expressing and exploring innermost self
– Obsession with self
– Non-comformity
• Common Romantic Themes:
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Autobiography
Gothic/Macabre
Pastoral scenes (peasant life/landscapes)
Unapologetic portrayals of human nature (lust, suicide, violence)
Representational/symbolic elements within works (sometime hidden)
And if they knew it, the blooms, the little
ones,
How deeply wounded my heart is,
They would weep with me
To heal my pain.
And if they knew it, the nightingales,
How I am so sad and sick,
They would loose the merry sound
Of refreshing song.
And if they knew my pain,
The golden little stars,
They would descend from their heights
And would comfort me.
All of them cannot know it,
only one knows my pain,
she herself has indeed torn,
torn up my heart.
Und wüßten's die Blumen, die kleinen,
wie tief verwundet mein Herz,
sie würden mit mir weinen
zu heilen meinen Schmerz.
Und wüßten's die Nachtigallen,
wie ich so traurig und krank,
sie ließen fröhlich erschallen
erquickenden Gesang.
Und wüßten sie mein Wehe,
die goldenen Sternelein,
sie kämen aus ihrer Höhe,
und sprächen Trost mir ein.
Die alle können's nicht wissen,
nur Eine kennt meinen Schmerz;
sie hat ja selbst zerrissen,
zerrissen mir das Herz.
Romanticism in Music
• Expansion
– Increased technical demands on performers
– Musical forms and structures
• Ex: 90 minute Symphonies vs. 20 minute Symphonies
– Harmony
• Expansion and intensification of Dominant-Tonic (V-I)
relationship for dramatic and expressive purposes
– Dynamics
• p=piano, pp=pianissimo; f=forte, ff=fortissimo
• pppp, ppppp; ffff, fffff in romantic era
Romanticism in Music
• Composers with recognizable individual style
• Elements include
– Increased use of folk music
– Nationalism
– Program music
– Exoticism
– Heightened contrast and emotions
– Middle-class audiences (no courts)
– Virtuosi based on public persona
Romantic Opera
• Plot content:
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Fairy tales
Historical (Royalty, Kings)
Based on Literature (Biblical, Shakespeare)
Verismo:The style is distinguished by realistic, sometimes
sordid or violent, depictions of contemporary everyday life,
especially the life of the lower classes, rejecting the historical or
mythical subjects of Romanticism.
• Libretto-’Story’ (text) of the opera
• Recitative- a style of delivery in which a singer is allowed to
adopt the rhythms of ordinary speech
• Aria- a self-contained piece for one voice usually very
emotionally expressive
• Overture- the instrumental introduction to an opera
Pagliacci
by Ruggero Leoncavallo
• Premiered on May 21, 1892 by Arturo Toscanini
• “One hit wonder”
• Prologue and two acts in verismo style
• No 4 on ‘Opera America’s list of
most performed operas
• Immediate success
• Play within a play
• “Sad clown” idea
Pagliacci
• Characters:
by Ruggero Leoncavallo
– Canio, head of the troupe (Pagliaccio) tenor
– Nedda, Canio's wife,in love with Silvio (Colombina,
Pagliaccio's wife,in love with Arlecchino) soprano
– Tonio, the fool (Taddeo) baritone
– Beppe, actor (Arlecchino, Colombina's lover) tenor
– Silvio, Nedda's lover baritone
• Synopsis: Set in Southern Italy, 1865
– Nedda, cheating on Canio with Silvio, is planning to elope
when her plans are spoiled by Tonio
– Canio catches someone sneaking out and is enraged, but
prepares for his performance
– Losing control at the performance, Canio demands to know
the name of the lover, and kills the two of them
Vesti la Giubba
To act! While out of my mind,
I no longer know what I say,
or what I do!
And yet it's necessary... make an effort!
Bah! Are you not a man?
You are Pagliaccio!
Put on your costume,
powder your face.
The people pay to be here, and they want to laugh.
And if Harlequin shall steal your Columbine,
laugh, Pagliaccio, so the crowd will cheer!
Turn your distress and tears into jest,
your pain and sobbing into a funny face - Ah!
Laugh, Pagliaccio,
at your broken love!
Laugh at the grief that poisons your heart!
Madame Butterfly
• Premiered on February 17, 1904
• Number 1 in Opera America's list of the 20
most-performed operas in North America
• Exoticism in 3 acts
• Inspiration for the movie
“Fatale Attraction”
Madame Butterfly
• Characters:
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Cio-Cio San (Madama Butterfly) Soprano
Suzuki, her maid mezzo-soprano
B. F. Pinkerton, Lieutenant in the US Navy tenor
Sharpless, US consul at Nagasaki baritone
Goro, a matchmaker tenor
• Synopsis (Set in Nagasaki, Japan)
– Pinkerton marries the young Butterfly who is completely
devoted to him
– He leaves, promising to come back, but years pass, and he
finds another women
– He returns to Japan for his child and Butterfly, devistated,
kills herself