19th Century Music and the Cult of Virtuoso Performers Essay

Introduction to Romantic Music

19th-century music, when summarized, often falls under one common category—Romanticism. The phrase “romanticized music” does not necessarily refer to the romantic aspect of love, though this was a common subject for inspiration. The phrase also does not pertain to the expression or expansion of musical concepts. Rather, romanticism in the 19th century was the development of existing musical ideas into more expressive and ‘passionate’ types of sound (Orrey, 1994).

Musical romanticism gave way to renowned composers such Beethoven, Schubert, Brahms, and Tchaikovsky, among many other great musicians (Plantinga, 1967). Composers during this period were heavily influenced by the Classic and Baroque styles but in actuality, 19th-century music was an avenue for the cultivation and development of formal structures of music.

The musical trend of this century, when speaking in technicalities, was one of Europe’s greatest transitions from the old schools of music such that of Mozart. Modulation of rarely used keys became a common style for the composers, and unlike the classical structure of music, listeners were less predictive of the rise and fall of the tone and volume (Plantinga, 1967). The characters of the diminished seventh and related chords were also widely used as a form of distinction for romanticized music. Also, more melodic and theme-inspired compositions were immensely preferred and demanded by patrons all over Europe (1967).

Through stage performances that have long existed before this time, a new group of virtuoso artists slowly gained worldwide recognition not only for their compositions but also for the delivery of their pieces on stage as well. Their innovations in style and form in terms of utilizing the instruments and creating a new sound transformed how music was written and composed. These composers and performers vastly explored the capability of an instrument to produce a more fluid yet stronger tone, giving greater importance to note contrasts and transitions (Leopold, 2006). The musical precision developed by composers in this century also defined many of the music that emerged, but along with this development was the beginning of a cult of performers that demonstrated their mastery of technique, tempo, active nuances, and character. One may say that instrumental concert artists were at their zenith in the 19th century.

19^th Century Master: Beethoven

Ludwig van Beethoven, the great German pianist, was one of the pivotal points of transition from Classicism to Romanticism. He studied under Joseph Haydn, an equally well-known classical composer. He moved and permanently resided in Vienna until he died on March 26, 1827 (Clive, 2001) He created pieces under a wide variety of genres, from romantic love to the ideals of the Enlightenment age. His composition “Heroic Symphony, composed to celebrate the memory of a great man” in 1804 was actually about the conquests of Napoleon Bonaparte and was first performed in the palace of one of his most prominent patrons, Prince Joseph Franz von Lobkowitz (2001) Beethoven possessed a strong personality. His progressive auditory disability did not stop him from performing and composing, however, it was the cause of his deep depression and suicide attempts. He never performed under immediate requests, but when he did, complete attention had to be given to his music. (Robbins,1970). His works have been categorized into three periods—the early, middle, and late. The early period of his works, ranging from 1793 to 1804, established his career as a virtuoso pianist. Contrary to his reputable genius as a composer, he first chose to specialize in piano performance rather than music composition. Some of his early famous works include the First and Second Symphonies, “Opus 18,” and the “Pathétique” sonata. (Clive, 2001). This stage of his career still showed his classic influences from Mozart and Haydn.

His most recognizable transition into Romanticism was on his return to Vienna from Heiligenstadt. His middle period of works marked his most innovative compositions and sparked what was to be the musical language for the entire 19th century. His middle period was also called his “Heroic” period wherein he dedicated his efforts to composing longer pieces with the themes of battle and heroism. The “Third Symphony in E flat” first denoted his shift in style. This piece was also entitled “Eroica.” (Robbins, 1970). This particular composition demanded more from orchestra musicians in which at its premier, caused mixed reviews from critics because of the lack or absence of structure some listeners were expecting. Nevertheless, more and more compositions sprouted during his middle period such as, “Appassionata,” “Christ on the Mount of Olives,” the “Violin Concerto,” and the “Moonlight Sonata”—a piece he dedicated to his supposed fiance, Guicciardi (1970). This part of his career established his ranks among the great composers, along with his mentors.

1815 was the starting point of his late works. His compositions by this period were more intensely personal, mainly due to his failing health and personal struggles. The “Ninth Symphony,” was composed in this period and Beethoven chose to integrate choral vocals at the last movement (Robbins, 1967). He regained his interest in the old music from Bach and Handel and meshed it with his own modern styles. “Consecration of the House Overture” was one of the results of this effort. Consequently, his hearing had almost completely deteriorated at this time, however, this did not impede him from composing more pieces for his concerts. Before his death, he completed and revised the Thirteenth Quartet.

Schubert and the Opera

19th-century music also launched the use of choruses, ensembles, duets, and arias in the opera. Composers catered to this trend by creating more diverse and dynamic pieces with more orchestration and movement. The opera was a venue for aspiring performers, as well as a business avenue for patrons and artists for commissioned works. Performing in a sponsored opera often equated to success for most composers and performers. Franz Schubert was one composer who truly embraced the opera stage and dedicated his skills to producing stage productions for orchestras, choral groups, and solo vocalists. His compositions between 1819 and 1820 were said to be his most mature and novel set of work. The pieces such as “Die Zwillingsbrüde” and “Die Zauberharfe” were highly attended at the opera during its staging at the Theater am Kärntnertor and Theater an der Wien, respectively. (Austin, 1973). However, Schubert’s career did not attain success early. Most critics described Schubert’s music as “merely pleasing” with a lack of real depth and intelligence unlike those of Beethoven’s. However, as the 20th century came, a closer study of his compositions showed that despite the initial perception of his works as easy-listening tunes, realizations of his courage for experimentation was recognized by critics and fellow composers. (1973) His music was heavily melodic, dramatic, and gave focus to the emotional aspect of the composition. Like Beethoven, he integrated the old with the new, resulting in some masterful works such as his “9th Symphony” that used light tension in the middle movement, and the utilization of subdominant keys to ending another section of the movement (Brown, 2002). Schubert also explored his abilities in creating pieces for an array of genres such as the opera, liturgic music, and symphonic works, however, it was in the genre of the Lied that solidified his career as a composer. According to Plantinga (1967), Schubert was the one who explored and excelled in this genre among all the other master composers of the 19th century. His compositions had in them, a folkloric feel, which made his works unique from the rest.

A Nationalist Trend

Nationalism and Primitivism was also a common theme for compositions during the 19th century. Carl Maria von Weber was a German composer that specialized in creating music under this genre. The 1800s was a period of zealous nationalism for Germany. As an answer to the country’s overwhelming feeling of love for country, Weber composed the “Hunter’s Chorus” and brought it to the opera stages of Vienna, London, and New York. (Blood, 2008) More compositions for the opera followed, including, “Der Freischütz,” “Euryanthe,” and “Oberon.” (Meyer, 2003)These three operas were still categorized under the Romantic movement of the 19th century despite is uniquely folkloric tone. Unlike the composers mentioned above, Weber presented, to his listeners, a glimpse of the local culture of the country. This was an opportunity for other musicians from other countries to see the rawness of specific traditions. Also, similar to Schubert, Weber demonstrated his master for other known genres such as church music and symphonies. Some of his religion-influenced works are the “Missa Sancta” 1 and 2. (Blood, 2008). However, as the demand for opera concertos rose to an all-time high in the early 19th century, some composers began using this genre as a mere means to capitalize on the demand of patrons all over Europe. Soon enough, nationalist music suffered and quickly faded before the end of the said century (2008).

Romantisim, In summary

In summary, romantic music possesses several characteristics that distinguish it from the other forms of music of the past and present periods. First is its freedom in form and design, catering to a more playful and spontaneous style of composition and execution. Second is its richness in melody, dramatics, modulation, and harmony, which results in a more dynamic and active sound. Another quality of 19th-century music is its technical precision and virtuosity, especially from pianists, violinists, and flutists. The composer’s immense ability to manipulate his instrument is proof of the century’s dedication to this form of discipline. Fourth is, of course, its tone of nationalism for one’s country, not in Germany alone but other nations such as Russia, Bohemia, Poland, and Norway. 19th-century music was also recognized for its close ties with the opera because of the notable demand for performances on stage by rich patrons of the arts.

The Opera Halls vs. the Salons

19th-century opera broke the traditional solo numbers established by the classical and baroque period. There was also an emphasis on the leading roles for heroic characters played by tenors. The tandem of composers and vocalists has given rise to a very live opera industry in this century. Also, instead of focus on an individual performer, choruses were provided with more prominent roles with greater demand for their skills in harmony(Blood, 2008). The most dominant opera during the 19th century were the ones found in France such as “Carmen,” but as the period reached its end, Verismo opera became the most popular form (Leopold, 2006). Verismo was a more realistic interpretation of actual events, rather than the usual theme of mythology and history. This was the beginning of more modern forms of opera performances, definitive of the 20th century.

As mentioned earlier, opera performances, especially commissioned ones, marked the success of an artist’s career. There was a great opportunity for financial growth, especially for the composers. Royalties were common patrons of the opera, and having loyalty as part of the audience is a rare chance for any artist to market his skills. But more than the material gain, the opera offered first and foremost, a level of prestige for any performer.

Performances in private gatherings, on the other hand, were more subtle venues for performers. However, small as the audience may be, it is often composed of the few select prominent figures of society which allows for a rather elite list of listeners. Personal requests for a performance from an artist often meant an interest in becoming a patron of the homeowner. Beethoven premiered one of his first compositions in a private party for the prince, and after impressing his audience, arrangements for an opera concert began taking a course (Leopold, 2006). However, artists will only achieve a formal introduction to the world of master composers if they have performed on the opera stage.

Music from this century has garnered many praises and recognition from today’s present time. Innovation was the key to the success of every piece. The likes of Beethoven, Weber, Tchaikovsky, Schubert, and the other great composers of the 19th century will remain to be prominent inspirations for modern music.

Reference List

1. Austin, G. L. (1973). The Life of Franz Schubert. Shepard and Gill.
2. Blood, B. (2008). Music history online : music of the 19th century.
3. Britannica. (2009). Musical Performance. Merriam-Webster.
4. Brown, P. (2002). The Symphonic Repertoire. Indiana University Press.
5. Clive, P. (2001). Beethoven and His World: A Biographical Dictionary. New York: Oxford University Press.
6. Leopold, S. (2006). The Idea of National Opera. In United and Diversity in European Culture. New York: Oxford University Press.
7. Meyer, S. (2003). Carl Maria Von Weber and the Search for a German Opera. Indiana University Press.
8. Orrey, L. (1994). Opera: A Concise History. In World of Art. Thames & Hudson.
9. Plantinga, L. (1967). Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York.
10. Robbins, H. C. (1970). Beethoven: a documentary study. Macmillan.