Podcasts about romantic period

Tabitha Potts and Martin Nathan interview the lead curator and guest curator of the British Library's blockbuster exhibition, Fantasy: Realms of Imagination, Tanya Kirk and Matthew Sangster. The exhibition runs until 25th February 2024 and tickets can be booked here. The exhibition has been critically acclaimed with a five star review in The Telegraph, ‘a visually captivating treat', and has been featured in The Guardian, The I Newspaper, Apollo Magazine and BBC Radio 4: Front Row to name a few. We interviewed both curators about the process of assembling an exhibition featuring over 100 objects that spans the breadth of a genre as varied as Fantasy, from its roots in epics and mythology to contemporary writers like Neil Gaiman and Susanna Clarke. Tanya Kirk, Lead Curator, Printed Heritage Collections 1601-1900, has worked at the British Library for 16 years, currently as the leading expert on 300 years of the Library's printed collections. She has curated six major exhibitions on topics including Gothic fiction, Shakespeare in performance, the British landscape in literature, science fiction and most recently, Fantasy: Realms of Imagination. She is the editor of four Christmas-themed collections of short stories in the British Library's Tales of the Weird series. With Matthew, she co-edited Realms of Imagination: Essays from the Wide Worlds of Fantasy (2023). Matthew Sangster joined the University of Glasgow in 2016 and was promoted to Professor of Romantic Studies, Fantasy and Cultural History in 2022. Prior to that Matthew worked at the British Library cataloguing the archive of the Royal Literary Fund and contributing to the exhibitions The Worlds of Mervyn Peake in 2011 and Writing Britain: Wastelands to Wonderlands in 2012. Matthew is the author of Living as an Author in the Romantic Period (2021) and An Introduction to Fantasy (2023); co-director of Glasgow's Centre for Fantasy and the Fantastic (with Dimitra Fimi); and a founding co-editor (with Brian Attebery and Dimitra Fimi) of the Bloomsbury Perspectives on Fantasy series. This episode was produced by Martin Nathan. Martin Nathan's short fiction and poetry has appeared in a range of journals and his novel – A Place of Safety is published by Salt Publishing. His dramatic writing has been shortlisted for the Nick Darke award and the Woodward International Prize. Episode cover image adapted from Carceri Etchings, Giovanni Battista Piranesi, (17501761) © British Library Board 

What is it about Mozart's last composition, the Requiem, that places it more in the Romantic Period of Beethoven than his own Classical Period?  We will discover that the line between each of these historical periods is not so cut and dry.

Prostitution is a rewarding job? Ballet is racist? Today, we hop in a time machine and find out how the world got here. Wretched Radio | Air Date: July 21, 2022 https://media-wretched.org/Radio/Podcast/WR2022-0721.mp3 Segment 1 Let’s go back in time shall we? We’ll start in Great Britain. Malcom Muggeridge was a brilliant fellow, and his musings […] The post THE ROMANTIC PERIOD appeared first on Wretched.

Episode Notes A Very Special Can't Miss Talking Turkey Seasonal Extravganza! The feeling of the final exam Yuletide and the Ghosts of Xmas Was Jesus a Virgin? James reveals his past as a Nerd Rapper Mary Shelley's On Ghosts Are we in a new Romantic Period? Merriest of Holidays from the Turkey Boys Find out more at https://talking-turkey.pinecast.co

Today we tackled Jane Austen, the Romantic Period and her first novel "Sense and Sensibility"

From the grand gestures of gods and ancient heroes in Opera Seria to the comical meanderings of Opera Buffa. These two genres occurred at a time of great change both in music and European society as a whole. Take one minute to Get the Scoop!Fun FactOpera Buffa was inspired by intermezzi, which were comic intermissions appearing in between acts of Opera Seria, in order to break up the tension. This gave way to full-fledged operas in the new comic style of Opera Buffa.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

Yes, my parents did have a serious side when it came to music.  My parents had all the biggies, You know...real toe-tappers. Vivaldi, Bach, Tchaikovsky, Shostakovich.  And THIS very nice record with two composers who were on the cusp between the classical and romantic eras of music in the early 1800s. Let's really go back into musical time with Volume 16: Beethoven and Schubert Beethoven Ludwig van Beethoven's 5th Symphony was written between 1804 and 1808. It was a significant work because it was composed during the transition from the Classical to the Romantic Period. It is important because it represents the culmination of the Classical Era, and the ignition of the Romantic Era. (Promised link: https://www.biography.com/musician/ludwig-van-beethoven) Schubert Franz Schubert's Symphony No. 8 may be the most famous unfinished work in the symphonic repertoire. Because of the depth of feeling and drama of the work it has been called the first Romantic era symphony by some. One was a pallbearer for the other, then died a year later. Credits and Copyrights:  Schubert / Beethoven / Viennese Symphonic And Salzburg Festival Orchestras / Hans Wolf And H. Arthur Brown ‎– Unfinished Symphony No.8 In B Minor / Fifth Symphony In C Minor, Opus 67 Label: Paris ‎– ALBUM 9 Format: Vinyl, LP, Mono Released: 1956 Genre: Classical Allegro Con Brio  Beethoven: Symphony No.5 In C Minor, Op.67 Conductor – Hans Wolf (8) Orchestra – Viennese Symphonic Orchestra Andante Con Moto Franz Schubert's Symphony No.8 In B Minor (Unfinished) Conductor – H. Arthur Brown Orchestra – The Salzburg Festival Orchestra Finale Allegro Beethoven: Symphony No.5 In C Minor, Op.67 Conductor – Hans Wolf (8) Orchestra – Viennese Symphonic Orchestra ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain. https://www.discogs.com/Schubert-Beethoven-Viennese-Symphonic-And-Salzburg-Festival-Orchestras-Hans-Wolf-And-H-Arthur-Brown-/release/7018184

How many composers are there? How many cellist/composers? More than you might think. Julius Klengel was was of many (especially during the Romantic Period) who performed, taught, and composed. He wrote dozens of pieces specially for cello and many of those were targeted at students. It is worth our while to explore, discover, and learn old works that have been forgotten by most of the population of cellists. If you wish to enjoy the fruits of another's labor and continue listening to more cellist/composers' works than you ever thought possible please keep reading and click on one of the links to make a donation: To listen to the music you hear playing in the background go to my Youtube Channel and Facebook Page: 1. Youtube: https://www.youtube.com/channel/UCpWQ5BLhtXdyeJOlGJ8MyqQ 2. Facebook page: https://www.facebook.com/TravelingCello/?view_public_for=131560840278870 To get updates on my projects see above links and also Instagram and LinkedIn: 3. Instagram: https://www.instagram.com/travelingcello/?hl=en 4. LinkedIn: https://www.linkedin.com/in/aaron-sinnett-85731888/ To read about the projects in more depth and get some of my thoughts about these compositions see my blog in Wordpress: 5. Wordpress: https://travelingcellojourney.com/ To lend a helping hand go to my Patreon or Paypal and make any size of donation you wish: 6. Patreon: https://www.patreon.com/travelingcello?fan_landing=true 7. Paypal: https://www.paypal.com/donate?hosted_button_id=7KNGGPE7TEQKE --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/forgottencellomusic/message Support this podcast: https://anchor.fm/forgottencellomusic/support

This episode talks about Wordsworth and the style shift of the Romantics. --- Support this podcast: https://anchor.fm/paul-cady/support

Dustin Plantholt’s “Life’s Tough—YOU can be TOUGHER!” podcast this week features Julia Golding, humanitarian, podcaster, and internationally acclaimed author best known for her Cat Royal series and The Companions Quartet. British novelist Julia Golding was born in London in 1969 and grew up on the edge of Epping Forest. She has written and published more than 50 books since embarking on her literary career in 2006. Most of her books target children and teen audiences, though she has also written novels for adults. Her books span a range of genres, including historical fiction, fantasy, and romance. Julia writes under her own name, along with two different pen names. She is “Joss Stirling” for her teenage mystical romances and “Eve Edwards” for her historical fiction. Julia started out by studying English at Cambridge University. She then took a civil service exam and ended up working in Poland for three years as a member of the Foreign Office. After her return from Poland she enrolled at Oxford University, where she earned a doctorate in British literature of the Romantic period. While wrapping up her studies at Oxford, she wrote her first novel, The Diamond of Drury Lane. The book, set in the 1790s (the early years of the Romantic Period), introduced one of Julia’s favorite characters, Cat Royal. Published in 2006, it also won coveted awards: Waterstone’s Children’s Book Prize and the Nestle Children’s Book Prize. A series of five more Cat Royal books (released between 2006 and 2009) followed and gained a rabid fan base. Julia’s next stop was the policy department at Oxfam, the global movement that combats poverty and injustice. She served as an international lobbyist, advocating for the protection of civilians caught in war zones. After her tenure at Oxfam, she became a full-time writer. More recently, Julia was writer-in-residence at The Royal Institution of Great Britain in 2019. The London-based Royal Institution, established in 1799, promotes public awareness of, and engagement with, science. In 2019, Julia launched her “What would Jane do?” podcast, in which she applies Jane Austen’s sensibilities to contemporary issues. Saving Tolkien’s house Julia describes one of her passions as a three-month crowdfunding campaign that she is leading in order to purchase and save the house where J.R.R. Tolkien wrote The Hobbit and The Lord of the Rings. The house, built in 1924, is located at 20 Northmoor Road in Oxford, England (an hour’s drive from London). Known as Project Northmoor, the campaign started this past December with a goal to secure $6 million to acquire the house, renovate it, and set up a literary center there as a tribute to Tolkien. Julia resides in Oxford with her husband and three children. Join Dustin and Julia for a fascinating chat on her literary life and commendable humanitarian efforts.

In such a short life Frédéric Chopin redefined the expressive possibilities of the piano.  Whether in his inventive use of harmonic voicings or his long, flowing, almost unending melodies; his poetic writing challenges the musician and the listener alike.2020 is the 210th anniversary of Chopin's birth and again I have the privilege of having Dr. Elias-Axel Pettersson on the show. We discuss Chopin and the history of the Romantic Period of music using Chopin's Piano Sonata No.3 in B minor as the platform to discuss. You can find Elias' performance here.I. Allegro maestoso: https://www.youtube.com/watch?v=N3iX-aDVj9Q II. Scherzo: Molto vivace: https://www.youtube.com/watch?v=6yHLQBal-N4III. Largo: https://www.youtube.com/watch?v=sbm-rec4gNwIV. Finale: Presto non tanto: https://www.youtube.com/watch?v=NgzCMPZrFy8 www.eapettersson.comwww.andifloveremains.com 

The Romantic Period – Part IV This week we hear works by Hector Berlioz, Anton Bruckner, Bedřich Smetana, Pyotr Ilyich Tchaikovsky, Jean Sibelius, and Enrique Granados. 169 Minutes – Week of October 12, 2020

The Romantic Period – Part III This week we hear works by Felix Mendelssohn, Franz Liszt, Antonín Dvořák, Cécile Chaminade, Hans Rott, and Isaac Albéniz. 150 Minutes – Week of October 05, 2020

The Romantic Period – Part II This week we hear works by Frédéric Chopin, Robert Schumann, Louis Moreau Gottschalk, Modest Mussorgsky, Leoš Janáček, and Alexander Scriabin. 157 Minutes – Week of September 28, 2020

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The Romantic Period – Part I This week we hear works by Franz Schubert, Charles-François Gounod, Johannes Brahms, Johann Strauss II, Charles-Marie Widor, Edward MacDowell, and Gustav Mahler. 164 Minutes – Week of September 21, 2020

Join Alex & Fernando for a "Romantic Music Monday" as they listen to and discuss some of the essential piano concerti from the Romantic Period. Featuring two new segments and some fantastic music, this is not one to miss! This episode includes piano concerti by Delius, Rachmaninoff, Beethoven, Grieg, and Chopin. Recordings included in this episode:Frederick Delius' Piano Concerto in C Minor, Mvt. I: Moderato (Justin Bird, Nick Hersh, IU Adhoc Symphony Orchestra; clip from original recording)This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.Sergei Rachmaninoff's Piano Concerto No. 2 in C Minor, Mvt. II: Adagio sostenuto(Skidmore College Orchestra/Anthony Holland, conductor; clip from original recording)This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. Ludwig van Beethoven's Piano Concerto No. 5 in E-flat Major, Mvt. I: Allegro(Ursula Oppens, Barbara Schubert, DuPage Symphony Orchestra; clip from original recording)This work is licensed under the Creative Commons Attribution 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.Edvard Grieg's Piano Concerto in A Minor, Mvt. I: Allegro Molto(Neal O'Doan, Peter Eros, University of Washington Symphony; clip from original recording)This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.Frédéric Chopin's Piano Concerto No. 2 in F Minor, Mvt. III: Allegro Vivace CC0 1.0 Universal Public Domain DedicationIntro: Tchaikovsky - Symphony No. 6, Mvt. II (This work is licensed under the Creative Commons Public Domain Mark 1.0 License. To view a copy of this license, visit http://creativecommons.org/publicdomain/mark/1.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Outro: Dvorak - Symphony No. 8, Mvt. III (DuPage Symphony Orchestra, excerpt cropped from original recording. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA.)Thank You for Listening to Another Episode of The Leading Tone Podcast!

In this fifth episode of Dr. Music, we discuss the Romantic Period aesthetic of "striving for the unattainable." Beethoven was the pioneer of the Romantic style, his Third Symphony igniting what became the Romantic ideal of stirring the imagination, visiting ancient times and exotic locations, and opening up a rich palette that was able to delve deeper into the artists's personal emotions. Reaching for what is unattainable, whether it is a reach through time, space, or emotional expression, is what we will experience in the podcast's musical examples.

Have you ever wanted to know more about Classical music, but felt you weren’t ~fancy~ enough to ask? Well, you’re in luck, because today, our guest, musician (and current Mental Samurai!) Heather Hurley has all the information you crave. Later, take a quiz on plays and ears called “Playing by Ear”! . . . [Music: 1) Ludwig von Beethoven, “Allegretto” from Symphony No. 7 in A major, Op. 92; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

Jacke takes a look at the astonishing life and works of William Blake (1757-1827), a poet, painter, engraver, illustrator, visionary, and one of the key figures of the Romantic Period. How did the boy who saw God's head in a window at age four become the man who wrote the most anthologized poem in English ("The Tyger") AND perhaps the most brilliant and innovative visual artist that England has ever produced? We discuss all that and more! NOTE: Due to a host error, Blake's birth at one point is fast forwarded to the wrong century, erroneously placing him among 19th-century intellectuals such as Darwin. We regret the error, which is corrected in a subsequent episode. Help support the show at patreon.com/literature or historyofliterature.com/shop. (We appreciate it!) Find out more at historyofliterature.com, jackewilson.com, or by following Jacke and Mike on Twitter at @thejackewilson and @literatureSC. Or send an email to jackewilsonauthor@gmail.com. Music Credits: "Magistar" and "Wholesome" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Learn more about your ad choices. Visit megaphone.fm/adchoices

BRACE YOURSELVES FOR THE MUSICAL EQUIVALENT OF FIFTY SHADES. Yes that is 100% correct and accurate, because it's time for something Romantic with a capital R!! This time we dive into the "wishy-washy" waters of Schumann, Puccini, Richard Strauss and Scott Joplin. Enjoy!Not enough TCP? Go here to find out more... Here's where you can hear all the music from all the episodes: https://open.spotify.com/playlist/6HxdsK2pKwY2Dt44nvSojlOur Patreon for those who want more TCP: https://www.patreon.com/ThatClassicalPodcastWebsite: https://www.thatclassicalpodcast.com/Twitter: https://twitter.com/thatclassicalInstagram: https://www.instagram.com/thatclassicalinsta/Facebook: https://www.facebook.com/thatclassicalpodcast/ See acast.com/privacy for privacy and opt-out information.

“Mozart, Beethoven y Mas “, hosted by Dr. Octavio Choy, is a program designed to provide the tools to appreciate and enjoy classical music. Along with the history of classical music and composers, there are descriptions of the most common instruments used in today’s orchestra. The program is conducted in Spanish.En Mozart, Beethoven y Mas, el Dr.Octavio Choy nos ayuda a disfrutar de la musica clasica, a traves de su historia y sus compositores, tambien usando descripciones de los instrumentos musicales de la orquesta. Para comentarios, diriganse a mozartbeethovenymas@gmail.com ; y en las redes sociales @MozartOctavio

Some common characteristics of British literature during the Romantic Period.

An historical and cultural overview of the Romantic Period in Britain.

This month on Maestro Independent Classical Spotlight we have a selection of four Romantic Period pieces from our classical collection. Amber Yiu Hsuan Liao"Piano Sonata No.18 in E-flat major, Op.31, No.3" (mp3) from "Beethoven: Piano Sonata No.18; Granados: Goyescas; Schumann: Humoreske" (MSR Classics) Buy at iTunes Music Store More On This AlbumThe three pieces in this recording were all written during difficult times in the lives of their composers. Beethoven composed the E-flat major sonata in the same year he wrote the Heiligenstadt Testament. Goyescas was created shortly after Granados learned about both the death of his close friend Issac Albéniz, and the Tragic Week, a bloody confrontation between the working class of Barcelona and the army. When Schumann composed Humoreske, he was an aspiring composer trying to win the approval of Clara’s father, and was staying in Vienna away from home and his beloved. It is touching to hear how the composers rose above the pain, anxiety and desperation in their lives with such grace. They transcended their suffering, and created these beautiful pieces that have enriched the lives of many others in future generations.Pianist Amber Yiu Hsuan Liao has given recitals and solo performances throughout United States and Taiwan. Recent engagements include recitals at the Bruno Walter Auditorium at Lincoln Center and the Freeport Memorial Library, and the world premiere of Between Stream and Hills III for piano solo by Chih-Chen Wei. Ms. Liao has been invited to participate in several music festivals in Europe, including Courchevel Academie Musicale in France, Internationale Sommerakademie Mozarteum in Salzburg and New Millennium Piano Festival in Gijón, Spain. She has also been selected to perform in the master classes of distinguished artists such as Leon Fleisher, Dmitri Bashkirov, John Perry, Leslie Howard, Oxana Yablonskaya, Michel Béroff and Robert McDonald. As a chamber musician, Ms. Liao’s collaborations with vocalists and instrumentalists have led to performances in the CAMI Hall, Symphony Space and the Lenox Athenaeum, among others. She was the pianist in the Emerald Quintet, a group dedicated to both standard repertoire and the works of contemporary composers. Ms. Liao started her early music training in Taiwan. As a teenager, she was the prize winner of several regional and national composition competitions. She continued her studies in piano performance in the United States under the tutelage of Boris Slutsky and Arkady Aronov. A winner of the Rose Marie Milholland Award and the President’s Award, she received her Master of Music from the Peabody Institute and Doctor of Musical Arts from the Manhattan School of Music. She currently maintains a private studio in New York City, and is on the faculty of Seton Hall University in New Jersey.Budapest String Quartet, Artur Balsam "Piano Quartet No. 1 in G Minor, Op. 25: I. Allegro" (mp3) from "Brahms and Schumann Recital" (Bridge Records, Inc.) More On This AlbumThe Budapest String Quartet was a string quartet in existence from 1917 to 1967. It originally consisted of three Hungarians and a Dutchman; at the end, the quartet consisted of four Russians. A number of recordings were made for HMV/Victor through 1938; from 1940 through 1967 it recorded for Columbia Records. Additionally, several of the Quartet's live performances were recorded, at the Library of Congress and other venues.More info on Budapest String Quartet.Artur Balsam (1906-1994) was a highly versatile pianist who was born in Poland and became established as an accompanist for Yehudi Menhuin on a 1932 tour of the United States. After being hounded out of Europe during the Nazi period, Balsam settled in New York and began both teaching and recording. Balsam was a very flexible artist who proved himself quite capable in piano repertoire ranging from the Baroque to ultra-modern works. Balsam was well-known locally in New York City, Rochester and Boston as a teacher, recitalist and chamber musician. He worked for dozens of East Coast based record labels, but the highest concentration of his recordings may be found in the Vox catalogue.More info on Artur Balsam.Lavina Meijer "Impromptu- Caprice, Op. 9" (mp3) from "Fantasies & Impromptus" (Channel Classics Records) More On This AlbumLavinia Meijer (1983) is recognized worldwide as one of the most promising rising stars of the moment. Born in Korea and adopted into a Dutch family, she is now based in the Netherlands. She studied under the guidance of Erika Waardenburg at the conservatories of Utrecht and Amsterdam, where she received her Bachelor and Masters degrees of Music with the highest distinction. Since then she has toured as a solo-harpist across Europe, America and Asia, showing the many possibilities of the harp as a solo-instrument.From a young age on, she has won several important music prizes, such as first prize at the Dutch Harp Competition in the Netherlands, first prize at the International Harp Competition in Brussels, a second prize at the International Harp Competition in Vienna and a third prize at both the International USA Harp Competition and the International Harp Competition in Israel. Special awards have been given to her, such as the MeesPierson award and the Vriendenkrans of the Royal Concertgebouw from Amsterdam and the Borletti-Buitoni Trust from London. In 2009 she received the Dutch Music Prize, which is the highest distinction for a Dutch classical musician.For full bio, please click here. Vassily Primakov "Prelude in G minor, Op. 23, No. 5" (mp3) from "Vassily Primakov: Rachmaninoff Recital" (Bridge Records, Inc.) More On This AlbumIn many ways Vassily Primakov is a reincarnation of the keyboard virtuoso from the early and mid-20th century: he possesses an enormous technique, a highly individual interpretive persona, and a keen sense for drama in the big moments of Romantic and post-Romantic works. To watch him at the piano in performance underscores this atavistic view: Primakov often plays trance-like, seemingly carried away by the music, with all manner of facial expressions and animated movements, while still conveying the sense he is in complete control, despite whatever technical challenges confront him. His growing number of fans will assert that he is fun to watch in his captivating mixture of eccentricity and sensitive virtuosity. Primakov possesses a broad repertory inclusive of Beethoven, Schumann, Chopin, Tchaikovsky, Rachmaninov, Scriabin, and Shostakovich. But he does not skirt the less meaty repertory, as his performances of Mozart concertos will attest; nor does he avoid the unusual: he plays the generally neglected and less pianistic Dvorák Piano Concerto. Primakov has recorded for Bridge Records and the Van Cliburn Foundation.Vassily Primakov was born in Moscow, Russia, in 1979. At 11 he became a student of Vera Gornostaeva at the Central Special Music School in Moscow. At 17 he enrolled at Juilliard, where he studied until 2005. His teachers there included keyboard icon Jerome Lowenthal. Primakov eventually made the U.S. his adopted homeland.For full bio, please click here.

Music 271: 4/2/07II: The post-Romantic Period and the turn towards the 20th century: the generation of 1860:• Hard to differentiate the Nationalistic composition and composer• Beginnings of another break: divide between composers born before and after 1860:• Hugo Wolf, Gustav Mahler, Eduard MacDowell, Claude Debussy, Horatio Parker, Richard Strauss, Jean Sibelius, Amy Cheney Beach, Scott Joplin: all born in the decade of 1860• Mahler, Debussy, and Joplin were all prophetic• Strauss: Symphonic poems, Opera, Art songs• Mahler - Schoenberg - Weber (evolution)• Ragtime was first form of New Orleans JazzIII: Gustav Mahler (1860-1911): A: Biographical Sketch1. Polka mit einem Trauermarsch als Einleitung (Polka with a funeral march as introduction): Composed at age 5: Composed after the subsequent deaths of 2 of Mahler’s brothers• Born in Czech Republic (Bohemia)• Dysfunctional family• Direct and indirect references to death (Mahler 1 as an example)• 1880’s found Mahler in Vienna Conservatory• Mentors were 4 individuals: Beethoven (Romantic), Schopenhauer - philosopher, R. Wagner, Nietzsche - argued that 2 aspects of human existence: rational and emotional• Melodies proceed from words, as do tonal centers and other elements in the music (Mahler 2: C minor-Eb Major: Death - Resurrection)• Culmination of philosophical beliefs and musical practices that cover the entire 19th century Germanic domainB: His place in music history: C: Place of song in Mahler’s music:• 9 symphonies - 4 include vocal soloists (2,3,4,8)• Many art songs for voice and piano, which were orchestrated later• Kindertotenlieder: Songs on the Deaths of Children (1901-1904): Full Orchestra setting but used like a chamber group

Music 271: 2/14/07II: Piano literature of the Romantic Period:A. The 18th Century Perspective: Kenner und Liebhaber: the professional and the amateur performer:• The amateur was often a woman• Virtually no difference between the abilities of the professional and the amateurB. The social customs of amateur music-making in the 19th Century:• Works were never written for amateurs that they couldn’t playC. “House Music” (Ger. Hausmusik) vs. “Concert Music”:• Women were expected to cook, sew, and play the piano for their home• More music was heard and performed at home than in public• Hausmusik included to chamber music, the art song, and the keyboard character piece*The Keyboard Character piece (GB p. 52-53) (Bonds p. 439)Usually 1 movementForm is derived from the minuet, and is in ABA (and variations)Music for the amateur to perform, as well as the professionalBeethoven: Bagatelles Op. 125 is an example (Bagatelle is French for small jewel)Thousands of these were composed