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Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:32:01 AM ET
From roughly 1750 to 1820, artists, architechts, and musicians moved away from the heavily ornamented styles of the Baroque and the Rococo, and instead embraced a clean, uncluttered style they thought reminiscent of Classical Greece. The newly established aristocracies were replacing monarchs and the church as patrons of the arts, and were demanding an impersonal, but tuneful and elegant music. Dances such as the minuet and the gavotte were provided in the forms of entertaining serenades and divertimenti.
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| Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:32:51 AM ET
At this time the Austrian capital of Vienna became the musical center of Europe, and works of the period are often referred to as being in the Viennese style. Composers came from all over Europe to train in and around Vienna, and gradually they developed and formalized the standard musical forms that were to predominate European musical culture for the next several decades. A reform of the extravagance of Baroque opera was undertaken by Christoph von Gluck. Johann Stamitz contributed greatly to the growth of the orchestra and developed the idea of the orchestral symphony. The Classical period reached its majestic culmination with the masterful symphonies, sonatas, and string quartets by the three great composers of the Viennese school: Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. During the same period, the first voice of the burgeoning Romantic musical ethic can be found in the music of Viennese composer Franz Schubert.
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| Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:33:36 AM ET
As the many socio-political revolutions of the late eighteenth-century established new social orders and new ways of life and thought, so composers of the period broke new musical ground by adding a new emotional depth to the prevailing classical forms. Throughout the remainder of the nineteenth-century (from ca. 1820 to 1900), artists of all kinds became intent in expressing their subjective, personal emotions. "Romanticism" derives its name from the romances of medieval times -- long poems telling stories of heroes and chivalry, of distant lands and far away places, and often of unattainable love. The romantic artists are the first in history to give to themselves the name by which they are identified.
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| Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:34:44 AM ET
During the early nineteenth century, opera composers such as Carl Maria von Weber turned to German folk stories for the stories of their operas, while the Italians looked to the literature of the time and created what is known as Bel canto opera (literally "beautiful singing"). Later in the century, the field of Italian opera was dominated by Giuseppe Verdi, while German opera was virtually monopolized by Richard Wagner.
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| Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:35:35 AM ET
The continued modification and enhancement of existing instruments, plus the invention of new ones, led to the further expansion of the symphony orchestra throughout the century. Taking advantage of these new sounds and new instrumental combinations, the late Romantic composers of the second half of the nineteenth-century created richer and ever larger symphonies, ballets, and concertos. Two of the giants of this period are the German-born Johannes Brahms and the great Russian melodist Peter Ilyich Tchaikovsky.
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| Sandiii23
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4/15/2018 | posted: 4/15/2018 at 8:36:27 AM ET
By the turn of the century and for the next few decades, artists of all nationalities were searching for exciting and different modes of expression. Composers such as Arnold Schoenberg explored unusual and unorthodox harmonies and tonal schemes. French composer Claude Debussy was fascinated by Eastern music and the whole-tone scale, and created a style of music named after the movement in French painting called Impressionism. Hungarian composer Béla Bartók continued in the traditions of the still strong Nationalist movement and fused the music of Hungarian peasants with twentieth century forms. Avant-garde composers such as Edgard Varèse explored the manipulation of rhythms rather than the usual melodic/harmonic schemes. The tried-and-true genre of the symphony, albeit somewhat modified by this time, attracted such masters as Gustav Mahler and Dmitri Shostakovich, while Igor Stravinsky gave full rein to his manipulation of kaleidoscopic rhythms and instrumental colors throughout his extremely long and varied career.
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