Music in the Romantic Era

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ISBN: 9780393097337 | 0393097331
Cover: Hardcover
Copyright: 5/17/1947

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This volume differs from the customary approach to a period of history. It is a characterization of the Romantic movement through its center: music; a history not of musical event but of musical thought in the 19th century--the period closest to us and most familiar in outward aspect. Mr. Einstein's aim is not to describe the development of music from the death of Beethoven to that of Wagner but rather to show how the Romantic movement was manifested in music and how music helped shape the Romantic movement. Book jacket.

Foreword	p. xi
Antecedents, Concepts, and Ideals
Contrasts	p. 3
Music and the Romantic Spirit	p. 3
Antitheses in Romantic Music	p. 4
Unifying Principles in Romantic Music	p. 7
The Individual and Society	p. 10
Social Function of the Composer	p. 10
The Eighteenth-Century Composer	p. 11
Beethoven's Concept of His Art	p. 14
The Romantic Musician	p. 15
The Nationalistic Idea	p. 18
Music as the Center of the Arts	p. 20
Tendency towards Merger of the Arts	p. 20
Music and Word	p. 21
New Versatility of the Artist	p. 25
Social Background of the Romantic Composer	p. 28
Literary Consciousness of the Romantics	p. 30
The Supremacy of Instrumental Music	p. 32
Music as Sound	p. 32
The Vocal Element in Romantic Music	p. 35
The Contradictions	p. 37
Growing Cleavage between Artist and Public	p. 37
Folk Song as a Cure for Isolation	p. 40
New Function of Music in the Romantic Era	p. 41
Romantic View of Earlier Music	p. 44
Romanticized Revival of the Past	p. 46
New Veneration of J. S. Bach	p. 48
Virtuosity vs. Intimacy	p. 50
Universal and National Music	p. 53
Universality in the Eighteenth Century	p. 53
New Enthusiasm for Regional Color	p. 55
National Dialects in Music	p. 59
Nationalism and the Individual	p. 62
The Forms and the Content	p. 65
Beethoven and Form	p. 65
Form in the Romantic Symphony	p. 66
Berlioz and Liszt	p. 68
Smaller Forms	p. 70
Vocal Music	p. 71
The History
The Rise of Musical Romanticism	p. 75
Bach as Seen by the Romantics	p. 75
The Romantics and the Palestrina Period	p. 78
Romantic View of the Classics: Of Haydn	p. 79
Of Mozart	p. 80
Of Beethoven	p. 81
The Romantic Classic: Schubert	p. 86
The Man	p. 86
Schubert's Early Instrumental Works	p. 88
The Later Symphonies	p. 91
Chamber Music and Piano Compositions	p. 93
Schubert as Creator of the Lied	p. 95
Currents in Schubert's Lieder	p. 97
Church and Choral Music	p. 100
Romantic Opera	p. 102
Specialists in Opera	p. 102
Antecedents of the Romantic Opera	p. 104
Early Romantic Opera: Weber	p. 107
Der Freischutz, Euryanthe, Oberon	p. 111
Marschner, Spohr, Lortzing	p. 116
Schumann's Genoveva	p. 118
Parisian Opera: Meyerbeer	p. 120
Symphonic and Chamber Music	p. 124
Mendelssohn, the Romantic Classicist	p. 124
Classic and Romantic in Schumann	p. 128
Berlioz, the French Romantic	p. 132
Liszt, a Born Revolutionary	p. 140
Brahms, a Posthumous Musician	p. 149
Bruckner, Religious Symphonist	p. 155
Church Music	p. 157
Protestant Church Music: Mendelssohn	p. 157
Catholic Church Music: Berlioz	p. 159
Liszt: "Dilettante Christianity"	p. 163
Romanticized Church Music: Gounod and Franck	p. 165
Genuine Catholicism: Bruckner, Rossini, Verdi	p. 166
Oratorio	p. 172
Mendelssohn and Schumann	p. 172
Oratorio: Development of a Hybrid Form	p. 177
Brahms	p. 181
Song	p. 183
Limitations in Italy and France	p. 183
Schumann, Successor to Schubert	p. 186
Loewe, Franz, Brahms	p. 190
Wagner and Liszt	p. 193
Trend towards Reaction: Hugo Wolf and Others	p. 195
Universalim within the National--I. Literature of the Piano	p. 198
Piano: The Real Instrument of the Romantic Era	p. 198
Mendelssohn's Piano Compositions	p. 200
The Problem of Virtuosity	p. 202
Schumann's Art: Fiery and Dreamy	p. 205
Liszt, the Creative Technician	p. 209
Chopin, an Original Musician	p. 213
Romantic Virtuosi: Heller, Henselt, Alkan	p. 220
Brahms as Pianist	p. 223
Universalism within the National--II. Neo-Romantic Opera	p. 226
Wagner: Power-Politician in Art	p. 226
Wagner Explains Wagner: the Ring	p. 234
Tristan und Isolde	p. 238
Die Meistersinger: National Social Drama	p. 241
Parsifal: Wagner's Sermon to His Flock	p. 243
Wagner's Path towards Individuality	p. 247
Those in Wagner's Shadow	p. 255
French Opera from La Juive to Carmen	p. 257
Italian Opera: The Romantic-Demonic in Rossini	p. 262
Bellini	p. 264
Donizetti	p. 268
Verdi: A Man of His Country	p. 269
Periods in Verdi's Development	p. 273
From 1 Vespri Siciliani to Aida	p. 279
The Last Period: Otello and Falstaff	p. 283
Offenbach and the Operetta	p. 286
Nationalism	p. 293
National Elements in Pre-Romantic Music	p. 293
Nationalization in Romantic Music: Bohemia	p. 296
Russia	p. 302
Scandinavia	p. 317
Holland	p. 322
Belgium	p. 323
Hungary	p. 326
Poland	p. 327
Spain and Portugal	p. 327
North America	p. 330
The Philosophy
Musical Aesthetics and Musicology	p. 337
Aesthetics	p. 337
New Evaluation of "Absolute" Music	p. 339
Convergence of the Arts	p. 343
The Cult of Music: Liszt and Mazzini	p. 346
Against Fusion of the Arts: Hanslick	p. 349
Musicology	p. 352
Conclusion	p. 356
Index	p. 363
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Music in the Romantic Era

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