This site is 100% ad supported. Please add an exception to adblock for this site.



undefined, object
copy deck
To the north of the city of Bayreuth is the “Bayreuth Festspielhaus”, an opera house specially constructed for and exclusively devoted to the performance of Wagner's operas. The premieres of Wagner’s Ring Cycle and of Parsifal took place here.
An eighteenth-century play-writer best known for his three Figaro plays. Two of these plays were used as the basis for operas by Mozart and Rossini.
Bel canto
Elegant Italian vocal style of the early nineteenth century marked by lyrical, embellished, and florid melodies that show off the beauty, agility, and fluency of the singer’s voice
The use of many notes from the chromatic scale in a passage or piece
Clara Wieck
A German musician, composer, and one of the most distinguished pianists of the Romantic era. Her husband was composer Robert Schumann.
Concert Etude
An instrumental piece, designed to develop a particular skill or performing technique, which contains significant artistic content and is played in concerts
Forces guided by the devil (i.e. Kaspar, Samiel, Mephistopheles, etc)
“The League of David”; Schumann’s imaginary music society found in his writings, created to defend the cause of contemporary music against its detractors; Schumann occasionally mentioned the group in his music, such as in the finale of Carnaval
Dumas fils
Nineteenth century author and dramatist who wrote The Lady of the Camellias, which Verdi’s La Traviata was based on
These two main members of “The League of David” were supposed to symbolize the extroverted/masculine (Florestan) and introspective/feminine (Eusebius) sides of Schumann’s personality
Nineteenth-century trend in which composers wrote music that evoked feelings and settings of distant lands or foreign cultures
Term coined by Richard Wagner for a dramatic work in which poetry, scenic design, staging, action, and music all work together toward one artistic expression
German author who wrote the two-part drama, Faust, which was the inspiration for operas and oratorios by Schumann, Berlioz, and Gounod, as well as symphonic works by Liszt, Wagner, and Mahler
Heinrich Heine
One of the most significant German romantic poets, remembered chiefly for selections of his lyric poetry; his poems were set to music in the form of lieder (art songs) by German composers. For example, his Buch der Lieder (Book of Songs, 1827) was set to music in Schumann’s Dichterliebe.
In an opera or music drama, a motive or theme associated with a person, thing, mood, or idea, which returns in original or altered form throughout
Literary text for an opera or other musical stage work
"Love's Death"; in the opera Tristan und Isolde by Wagner, it is the final, dramatic song of the opera, as Isolde mourns over the body of Tristan. When used as a literary term, liebestod refers to the theme of erotic death or "love death" meaning the two lovers' consummation of their love in death or after death.
Ivan Mazaeppa, a Ukrainian man whom Lord Byron wrote a poem about and Franz Liszt subsequently based a symphonic poem off of
A type of Polish folk dance in triple meter, characterized by accents on the second or third beat and often by dotted figures on the first beat, or a stylized piano piece based on such a dance.
Type of short piano piece popular during the romantic period, marked by highly embellished melody, sonorous accompaniments, and a contemplative mood.
Stock characters of Commedia Del Arte Pierrot’s character is that of the clown; he is naïve, foolish, and oblivious; he is portrayed in the second part of Schumann’s piano composition Carnaval Harlequin is a comic servant character portrayed in the third part of Schumann’s piano composition Carnaval
Technique common in romantic music in which the performer holds back or hurries the written note values
Arrangement of a piece for an instrumental medium different from the original, such as a reduction of an orchestral score for piano
Nineteenth-century operatic movement that presents everyday people in familiar situations, often depicting sordid or brutal events
Performer who specializes in one instrument and dazzles audiences with his or her technical prowess
Revolutionary Etude, Op 10, No 12
Chopin, 1830
Nocturne in Db, Op. 27 No. 2
Chopin, 1840
Schumann, 1840
Schumann, 1840
Transcendental Etudes After Paganini: La Campanella
Liszt, 1850
The Barber of Seville
Rossini, 1830 -Overture -Act I: Largo di factotum (Figaro) -Act I: Una voce poco fa
Der Freischutz
Weber, 1820 -Overture -Act II: Finale, Wolf's Glen Scene
La Traviata
Verdi, 1850 -Prelude to Act I -Act III, Scene and Duet (Alfredo and Violetta)
Tristan Und Isolde
Wagner, 1860 -Prelude to Act I -Act I: Scene V, The Love Potion
Bizet, 1870 -Prelude to Act I -Act I: L'amour est un oiseau rebelle -Act I: Seguidilla and Duet
Schumann's Writings on Chopin and Brahms
Chopin Opus 2: Though young, Schumann used Eusebius and Florestan to promote Chopin as a genius. Brahms: Schumann also promoted a young Brahms, commenting on his daemonic piano pieces, lieder with deep vocal melody, etc.
Large Romantic Genres
Symphony, Chamber Work, Symphonic Poem, Concerto
Small Romantic Genres
Lied, song cycle, piano piece
Piano Pieces
Ballade, Scherzo, Nocturne, Intermezzo, Rhapsody, Etude, Prelude, Song Without Words
Absolute vs. Poetic Music
For the supporters of "absolute" music, formal perfection rested on musical expression that obeys the schematics laid down in previous works, most notably the sonata form then being codified. To the adherents of program music, the rhapsodic expression of poetry or some other external text was, itself, a form. They argued that for the artist to bring his life into a work, the form must follow the narrative. Both sides used Beethoven as inspiration and justification. The rift was exemplified by the conflict between followers of Johannes Brahms and Richard Wagner: Brahms' disciples took him to be a pinnacle of absolute music, while Wagnerites put their faith in the poetic "substance" shaping the harmonic and melodic flow of his music.

Deck Info