Chapter 18: The Late Romantics

1. Chapter 18:The Late Romantics Late Romantic Program Music

2. Realism Symphonic poem Theme transformation Key Terms

3. Late Romantic Timeline

4. The Late Romantics • 1848 a year of failed revolutions • In France, Italy, & various German states • Hopes for political freedom seemed to die • Many Romantic aspirations died as well • Romanticism lived on, but as nostalgia • 1848 a convenient point of demarcation • Early Romantics were dying – Mendelssohn, Chopin, & Schumann died 1847-1856 • Revolution & exile transformed Wagner’s career

5. Romanticism and Realism • Dominant trend in literature & art from 1850s on was realism – not Romanticism • Novelists Dickens, Trollope, Eliot, Balzac, Flaubert, Zola, & Howells • Painters Courbet & Eakins • French & Italian opera also more realistic • Wagner’s music dramas not realistic at all • Much late 19th century music assumed an inspirational yet escapist function • Escape from political & economic conditions

6. Late Romantic Program Music • Liszt wrote a series of symphonic poems in the 1850s • A new genre – a one-movement orchestral work with a program in a free musical form • Word “poem” emphasized literary connection • Could be based on a poem, play, or other work • Liszt’s works include Les préludes & Hamlet • Gave new impetus to late Romantic music • Genre was used by Smetana, Chaikovsky, Musorgsky, Rimsky-Korsakov, Strauss, Sibelius, and others

7. Pyotr Ilyich Chaikovsky(1840-1893) • Music not a “respectable” Russian career • Chaikovsky was fortunate to study at the brand-new St. Petersburg Conservatory • Professor at Moscow Conservatory at 26 • Long subsidized by wealthy recluse Nadezhda von Meck – though they never met! • A prolific composer • 6 symphonies, 11 operas, symphonic poems, chamber music, songs, concertos, ballets • One of the best-loved melodists in music history

8. Chaikovsky, Romeo and Juliet • One of several of his symphonic poems • Lengthy pieces in one movement • He uses free forms that adopt features of sonata form, rondo, & so on • Romeo and Juliet followed outlines of the original play in a general way • Easy to link themes to aspects of the play • Surging, Romantic melody for the two lovers • Angry, agitated theme for families’ enmity • Hymnlike theme for kindly Friar Laurence

9. Romeo and JulietSlow Introduction • Introduction already heavy with drama • Somber, solemn Hymn theme statements • In low clarinets & bassoons • Anguished strings answer • Forecasting an unhappy outcome • High woodwind announcement • Punctuated by strumming harp • The above repeats & builds to a climax • Over dramatic drum roll

10. Romeo and JulietAllegro (1) • Begins with fast Vendetta (Fate) theme • Short, vigorous rhythmic motives • Climax punctuated by cymbal claps

11. Romeo and JulietAllegro (2) • Shifts to highly romantic Love theme • First heard in English horn & violas • Interrupted by a gentle sighing figure • Returns to Love theme in woodwinds

12. Romeo and JulietAllegro (3) • Lively development section follows • Reminiscent of sonata form development • Battle between Vendetta & Hymn themes

13. Romeo and JulietFree Recapitulation (1) • Vendetta theme returns in original form • Reminiscent of sonata form recapitulation • Sighing motive & Love theme also return • Big, ecstatic statement of Love theme

14. Romeo and JulietFree Recapitulation (2) • Ending broken up & interrupted – a reference to the drama’s tragic outcome • Vendetta & Hymn themes combine once more • They build to a huge climax & die down unwillingly

15. Romeo and JulietCoda • Introduces transformations of Love theme • Begins with broken version of Love theme • Over funeral drum taps in timpani • Woodwinds sound an optimistic note • Transformation of sighing motive • Harp strumming introduces Love theme • Beautiful new cadential version surges upward ecstatically • Suggestion that their love transcends death?