Romanticism : Historical Context and Characteristics

Today, we shall proceed to an introduction to the music of the Romantic period, focusing on considerations about the historical context and the main characteristics of this style.
 
The term Romanticism is used to define the movement in the fine arts, literature and music which started in the second half of the XVIII century and lasted until the late XIX century, largely influencing the aesthetics of  Modernism. Some of the most famous composers of all time lived and worked during the Romantic music era. Schubert, Chopin, Wagner, Brahms, and Mahler are among the most recognizable names.

While the term Romanticism in classical music does not necessarily refer to music revolving around love themes, it focuses mainly on themes such as nationalism  - stregthened by  two great periods of upheaval within the late XVIII century  (the American Revolution, from1775 to 1783,  and the French Revolution, from 1789 to 1799) - , supernatural stories, death and personal feelings, and tales in general.  Music almost always carries with it depths of emotion that are typically more accessible for audiences, embracing the masses more fully.  This is partly  due to an increase in  proletarian influence -  introduced during the Classical period.

Since the artists themselves were creating for a more egalitarian audience, it is only natural that subjects for this music moved to concepts more easily grasped by the emotions. Another aspect that explains the shift towards an emphasis on emotions was the composers’ reaction against the formalism of the Classical Era. Whilst Romantic composers still kept the classical forms of sonata and symphony, they created new and more ‘melodical’ forms, using  richer harmonies and ever more dissonance – such as  short piano pieces,  anthems, preludes, programme music (programme symphonies, symphonic poems, concert overtures), the Modern Concertos, the song cycles, the variations, art songs, etudes and character pieces, and the lied.

Other characteristics that emerged with the new style include the use of a wider range of dynamics; a greater variety of instruments, further  intensifying of the full potential of instruments – including the employment of a wider range of pitch and the exploration of new tone colours and dynamics;  more dramatic melodies;  a  freedom in form and design;  greater sense of ambiguity, especially in tonality; the expansion of the orchestra, sometimes to gigantic proportions – such as seen in the  symphonic works of Mahler;  shape and unity brought to lengthy works by the use of recurring themes (sometimes transformed/developed) - idée fixe (Berlioz), thematic transformations (Liszt), Leitmotif (Wagner) and the motto theme; a keener interest in greater technical virtuosity – especially from pianists and violinists; and finally, the elevation of the performer as genius.