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| The ________ ___ increasingly elevated the importance of the individual over society. |
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| Westerners began to believe that each human being could express ___________ |
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| Romantics did not support __________ |
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| Individuals may find strength to discover their paths through a triumph of _____________ |
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| The Romantic era demonstrates a curious _____ towards science |
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| ____________ change influenced the growing middle class. More leisure time more time to think, create and explore. |
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| ___________________, however, did take a toll on society. |
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| The population concentration in cities hampered individual ________ |
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| In response to the conditions of the city, Romantics longed to return to the ____________ |
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| ________ ________ bought land and built homes in the countryside. |
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| The fascination with ______ also influenced Romantic philosophy and the arts. |
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| Romantics thought that they could find their ______ _______ in real or imagined nature. |
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| Journeys to nature, in turn, inspired an interest in the _____________ |
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| Romantics elevated the importance of the individual ________ __________ |
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| The Hungarian pianist and composer that pioneered program music and invented the tone poem. |
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| The first Romantic composer and his 1808 Pastoral Symphony the first example of Romantic music. |
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| Beethoven was born in ____ _______ |
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| He travels to _____ and studies composition with Joseph Haydn. |
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| By 1801 Beethoven realizes that he is growing ____ |
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| During his ____ _____ Beethoven begins to establish Romantic musical trends. |
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| ___________ by Beethoven written in 1808 with full orchestra in Germany. Programmatic Music. Also known as Symphony No. 6 in F Major, A Recollection of country Life |
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| Most symphonies contain four movements but Beethoven’s Pastoral Symphony includes ___ movements |
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| This is the 4th movement of Beethoven’s 6th Symphony |
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| Classical and Romantic eras |
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| Beethoven bridged the gap between ____ and _____ ____ |
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| “The Storm” employs striking ____ _____ to depict the onset, duration, and clearing of a storm by only occasionally having the orchestra play at once. |
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| German composer and child prodigy that wrote the programmatic music Fingal’s Cave Overture (1830/1832) or “Die Hebriden” or “The Isles of Fingal” |
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| Mendelssohn’s “Fingal’s Cave Overture was inspired by a cave on the island of Staffa in ________________. |
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| Music that preceded an opera or a play. In Romantic music it could stand alone. |
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| Talented sister of Mendelssohn who was discouraged from a musical career because she was a girl. |
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| Bohemian composer that wrote the Tone Poem Die Moldau about two streams that form the Czech Moldau River. Concidered both Programmatic Music and Nationalistic Music also known as Vitava |
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| Set of six nationalistic tone Poems by Smetana that depicts an element of Czech history, geography or legend. |
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| Finnish Nationalist composer born in 1865 that began to study law and then changed to music. |
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| The language of the Finnish elite, Sibelius’ native tongue. |
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| The language of the Finnish peasants and favored by the nationalist movement. |
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| Sibelius’ Nationalist Traits |
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| Captures the spirit of Finnish language, character and legend. References nature and legend imitates the phrases of Finnish epic poetry. |
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| Sibelius composed a four-movement tone poem called _______ _________ which draws its program from the Kalevala, the Finnish national epic and legendary hero. |
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| ________ composed by Jean Sibelius (1893-1897) a Tone poem with a small orchestra which is Programmatic Music and Nationalistic Music from the Lemminkainen Suite. |
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| The Swan of Tuonela contains a famous solo for _________ ________ |
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| The hero Lemminkainen must ______ the sacred swan in Tuonela, the Finnish underworld |
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| The Sorcerer’s Apprentice |
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| a Tone poem/scherzo (fast humorous work) by Paul Dukas with full orchestra from the country of France is programmatic Music. |
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| Dukas takes the “Sorcerer’s Apprentice from Goethe where a sorcerer leaves his apprentice alone in his workshop and chaos ensues. |
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| Composer born in France, gives first piano recital at 10 and studies organ at Paris conservatoir at age 13 and becomes the first Frenchman to compose a tone poem. |
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| Inspired Danse Macabre. Traces its origins to medieval and renaissance art. |
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| Written by Camille Saint-Saens (1874) was a Tone Poem for full orchestra in France and was porgrammatic Music |
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| Saint-Saens uses ________ an alternate tuning of the violin for the solo violin in Danse Macabre. |
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| Saint-Saens uses the xylophone to represent the bones dancing around. |
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| composer born in France in 1803 and plays flute, guitar and flageolet, a penny-whistle. At 13 begins to compose enrolls in a Paris medical school and later transfers to the Paris Conservatoire. |
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| Berlioz became interested in Shakespeare and obsessed with the actress _____________. |
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| Berlioz’s obsession with Harriet Smithson inspired the program of his Symphonie Fantastique, in which the protagonist pines for his beloved. |
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| A single melody that recurs within each movement of Symphonie Fantastique and represents the artist’s obsession with his beloved. |
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| by Berlioz (1830) is a symphony with full orchestra from France and is Programmatic Music from Symphonie Fantastique. |
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| In March to the Scaffold the artist takes opium and dreams he ________ ____ _________ and the guillotine executes him |
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| composer born in Germany (1810) plays piano, sings and compose early and performs for the first time at 11. Attend Leipzig law school then studies piano with Friedrich Wieck. His right hand becomes weak so he focuses entirely on composition and marries Wieck’s daughter Clara |
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| one of the few women that received professional recognition in music in the Romantic era. She was a leading concert pianist and a talented composer. |
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| A suite for piano, illustrates the personalities of many of Schumann’s friends, as well as his internal personalities. |
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| “Eusebius” and “Florestan” |
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| By Schumann (1835, Germany) from a Suite for solo piano which is programmatic Music from the Suite “Carnaval” |
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| Shows Schumann’s sensitive and pensive side a slow and introspective adagio |
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| Demonstrates Schumann’s inner flamboyant virtuoso. Fiery and improvisatory. |
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| The four-note ________ motive unifies the entire work of Schumann’s Carnaval. |
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| Composer born in Bergen, Norway (1843)Mother teaches him piano at 15 composes and studies piano at the Leipzig conservatory in Germany. Moves to Copenhagen and marries Nia Haerup, his vocalist cousin. 1874 becomes a conductor and composer. |
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| Composer born in Bergen, Norway (1843)Mother teaches him piano at 15 composes and studies piano at the Leipzig conservatory in Germany. Moves to Copenhagen and marries Nia Haerup, his vocalist cousin. 1874 becomes a conductor and composer. |
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| By Edvard Grieg (1875-6) incidental Music with singer and Orchestra from Norway and is programmatic and Nationalistic music from the Peer Gynt Suit. |
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| Grieg wrote the incidental music for ____ _____ a play by the Norwegian Henrik Ibsen. |
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| In Griegs “Solveig’s Song , Lolveig sings for the ________ of her scoundrel lover, Peer Gynt. |
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| a group of composers who sought to develop a distinctly Russian brand of Romanticism: Modest Mussorgsky, alexander Borodin, Mily Balakirev-Leader, Nikolai Rimsky-Korsakov and Cesar Cui |
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| Ballet of the Unhatched Chicks |
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| by composer Modest Mussorgsy (1874) from a Suite for solo Piano called Pictures at an Exhibition. Composed in Russia and considered Programmatic Music. |
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| Pictures at an Exhibition |
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| By Mussorgsky contains 10 movements inspired by artwork by Viktor Hartmann. |
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| A recurring _____ ____ links the movements and represents a viewer wandering between pictures at an art exhibition. |
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| Mussorgsky’s “Ballet of the Unhatched chicks” reflects upon costume designed for the ballet ________. |
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| Composer that orchestrated this suite and made it famous. |
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| by composer Franz Liszt(1854) is a symphony using full orchestra from Hungary and the style is Programmatic Music. |
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| Liszt’s Faust Symphony depict three characters from a ______ ______;Faust, a scholar, Gretchen, his beloved, and Mephistopheles, the Devil to whom Faust sells his soul |
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