The Romantic Era

The Story So Far…

1600-1750 – The Baroque Era
• Highly ornate/decorated 1800-1910 – The
• Contrapuntal (interweaving Romantic Era
melodies)
• Complex
• Often religious
… let’s find out!
• Used Harpsichord

1750-1820 – The Classical Era

• Balanced and perfectly proportioned
• Far more simple
• More often melody and accompaniment
rather than contrapuntal texture
 Why ‘Romantic’?
Nature
The mystic and
The word ‘romantic’ in this supernatural
sense does not just refer to Medieval
love and relationships, but tales

more the ‘fantastical’ Ghosts, fear,

What did Romantic
thoughts and ideas of artists at shock, and the
artists and composers
use as inspiration?
the time. It was generally Night
characterised as a reaction The ‘infinite’
against the new and radical
scientific concepts that were
starting to explain things in National
Identity
Anything
strange, unusual,
the natural world. or surprising
Early Romantic (1800-1850)
This piece is an extract from the last movement of Hector Berlioz’
Symphonie Fantastique (1829). Berlioz was emotionally unstable, so
was suited to the ideals of the Romantic era.
It is about a man who sells his soul to the Devil.
It is part of a Symphony; this was invented in the Classical Period, but
has expanded hugely by this point.
This is the fifth movement, and you can hear a number of Romantic
features:
• Extreme dynamics
• Extreme pitch
• Virtuosity
H. Berlioz: Symphonie Fantastique (5th
• Expanded use of Brass (Trombones!) Mvmt - extract)
• Huge Orchestra Listen from 46:45
Late Romantic
(1850-1910)
As the era progressed, composers got
more and more extreme with their
depiction of different stories, emotions,
and themes.
The orchestras got bigger and bigger, the
complexity increased, and the audiences P.I. Tchaikovsky: 1812 Overture

were taken on a rollercoaster ride of This is an example of just how far composers went to
different emotions and contrasting moods. achieve the sound they wanted. This piece was written to
commemorate the successful Russian defence against
Napoleon in 1812.
REMEMBER:
The Romantic Era is the first time large festivals and
It is one of Tchaikovsky’s most famous pieces, and it uses
concerts took place for the general public, not just
not only an enormous orchestra, but also church bells
Aristocrats. This meant composers had to write music to
and cannons!
entertain everyone, not just those who had had music
tuition!
 Programme Music

The Romantic Era also saw the rise

of Programme Music; music that
was written to tell or play alongside
a story or theme.
The music is designed to make the
audience feel certain emotions
F. Mendelssohn: The Hebrides Overture “Fingal’s Cave” alongside the narrative.

This piece is an early example of ‘Programme Music’, written in 1830. It The best examples are ‘Symphonic
was inspired by Mendelssohn’s travel to the Hebrides Islands, and Poems’ – large-scale instrumental
describes the beauty and loneliness of Fingal’s Cave. See if you can hear pieces in one, long movement that
the rolling, stormy sea in the opening of this overture, and consider how explore complex stories and a range
the composer represent solitude of different emotions and themes.
 Nationalism

Nationalism emerged in
connection with many of the
National Independence political
movements in the early 1800s. It
involved composers using
themes, stories, and folk
melodies from their homeland to
inspire their music. A. Dvorak: Slavonic Dance Op. 46 No. 8
Previously, the Italian, French,
and German traditions had set the This high-energy performance is actually based on a ‘furiant’ – a
‘rules’ for Classical Music, and rapid and fiery Czech dance with shifting accents on different
the rise of Nationalism was seen beats. Dvorak was Czech, and proudly represented the music and
as a direct reaction against this. culture of his country