It comes from the classical period and
it's a pretty smooth transition.
It's hard to identify when
the romantic period started.
But a lot of the greatest,
most popular classical music that
you'll hear comes from this period.
It was Beethoven and
Mozart that kind of spurred on this
beginning of the romantic period.
The primary difference in romantic
period from the classical period is,
the classical period was thinking
about structure and form and symmetry.
But the romantic period, they got
kind of tired of that after a while.
And they wanted their music
to be more personal and
more subjective and expressive.
And so, a lot of composers started
writing more autobiographically.
If a composer was feeling distraught and
heartbroken, he would write
music that reflected that.
And so that's a big part of
the aesthetic of romantic music.
Because it's very personal,
it's very emotionally charged.
And so it's just a general reaction
against the rationalization and
control of classical principles.
And the composers and
painters and authors,
they all started embracing
these longing feelings.
You know, heartbreak and going away
from logical, geometric symetry.
There was a lot of embrace of
mysticism and medieval imagery even.
When you get into Wagner at
the end of the 19th century
he was sort of the pinnacle
of the romantic period.
And his whole Ring Cycle Opera is all
about this medieval Norse imagery.
And so this idea of looking for
the magic in life and
looking for emotional expression
is the key to the romantic period.
Part of this development
through the romantic period was
through dissonance intention.
And so you'll notice some early romantic
composers like Mendelson and Beethoven.
You can still hear,
it's really expressive music, but
still within classical forms,
for the most part.
But, as you go through the 19th century,
and you get composers like Wagner and
List, and Tchaikovsky, suddenly it's well,
Tchaikovsky's less dissonant, but
as we go through the 19th century,
the music becomes more dissonant,
and more tense.
And Wagner again, is kind of like
the pinnacle of dissonance, and
We talked about in the classical piece,
how we always wanna
lean on the dissonance.
Well, in the romantic period
the dissonance is gonna last.
The tension is gonna be held onto for
much longer periods of time.
we're gonna have these arching melodies
that never really resolve sometimes.
And so, that's a big part,
it's gonna affect a lot of things
we're gonna do technically.
As a cellist, we're gonna play with more
vibrato and more sustain in our sound.
So again, like a classical
melody might sound like, well,
that Beethoven sonata I demonstrated.
But a romantic melody,
you know like even the Brahms' melody.
We're gonna play
with more vibrato.
We're gonna play with more vibrato,
and kind of a more sustained sound.
It's a really big part of sustaining
tension in romantic melodies.
And we're gonna deal with that
with a couple pieces here, and
while we move on to the next lesson.