11

By the way you're framing the question, it looks like you're assuming "expression of a topic" is the leading impetus of the Romantic movement. It was certainly part of it, but the Romantic was so much more than that: it dealt with individuality/autobiography, a oneness with Nature, expression of the mystic/religious/supernatural, bucking conventional musical ...


11

The portion of Amadeus to which you refer is unfortunately a rather accurate depiction of a practice that has thankfully passed, that of using pounding large staff on stage to keep time. Jean-Baptiste Lully was literally an unfortunate casualty of this practice. As for Rubato, the Harvard Dictionary of Music offers two related definitions. The main ...


11

What a well-researched and well-sourced question! This is a very common pattern in tonal music that we call a circle-of-fifths (or descending-fifths) sequence. Some would call it a circle-of-fifths progression, and they're correct, but sequence will be a little more specific. Let's break both of these points down: The "circle of fifths" is a pattern where ...


10

You're looking for the Biamonti Catalogue. An online version with MIDI versions of some works is available here.


9

Of course he didn't, and good on you for spotting such an oversimplification. The simple fact is that it's almost never fully correct to say that one individual ushered in a new historical era. The web of influences is incredibly complex, and anyone saying "this era started here" is likely either simplifying the matter for teaching purposes, or pushing ...


6

In order to answer your question, the question itself needs to be modified. To correct your thought, the Romantic Period did not occur specifically during Beethoven's lifetime, so it could therefore not have happened during his "middle" period. It is important to understand that when talking about labeling a period of music is to label a zeitgeist of ...


6

Actually, the standard forms from the Classical tradition are still largely in play in the mid-nineteenth and into the twentieth century. Seth Monahan recently published a very well-received book, Mahler's Symphonic Sonatas, that shows how Mahler used the tradition of sonata form in order to create narratives within his works. Sure, these sonata structures ...


4

When Isaac Albéniz found his musical voice, I suppose it could best be described as 'Spanish Nationalist'. The nationalist movement ln music is generally categorised as 'Romantic' I think. This Wiki article postulates a 'Golden Age' of guitar works in the Romantic period. https://en.wikipedia.org/wiki/Classical_guitar_repertoire#Romantic_era


4

While accidentals will often prompt publishers to put courtesy natural signs before the note's pendants in another octave if they occur later in the same bar, this is not actually necessary: unlike the signs of a key signature, accidentals only apply to the exact line they're written in. The 𝄪 does not apply to another F♯ but the one it's actually written ...


4

First off: I assure you all the instruments used for the International Chopin Competition on Period Instruments are in top condition. Many of them are modern copies anyway so those didn’t go through 150 years of wear and tear, and they would only use originals they could restore to their prime. Why there is a little more reverb is a result of long and ...


4

Unlike in Bach, Mozart, or even Beethoven's piano works, those written by Chopin, Liszt, and later composers often require the pedal, even when it isn't marked, for reasons like expression from the sustain or large leaps. Same with Liszt's transcriptions of Beethoven's symphonies for solo piano. Take this bit from the Liszt transcription of Beethoven's Fifth ...


4

Tutte Le Corde tells you to release the left pedal. The earlier marking Una Corda tells you to press down the left pedal. The left pedal is sometimes called the “soft” pedal. It makes the sound softer by shifting the piano hammers so they only strike one string at a time (hence Una Corda, which is Italian for “one string”). Tutta Le Corde is Italian for “all ...


4

Mixed set of gut and steel (what most soloists now try to emulate with synthetic and a steel E). Gut strings only doesn’t have tone color and power enough to project into a large hall, the common venue where a late romantic symphony was played, specially when you’re dealing with winds and brass a 3 or even a 4, and percussion. After Paganini and Ernst era, ...


3

The Danse is a Symphonic Poem like others by Saint-Saens, if a rather short one. These compositions don't have to follow traditional forms like "Sonata movement" or "Fugue", although they can. Their point is rather to let the music follow the extramusical narrative regardless of the constraints of strict form. That said, a rondo can have quite a few ...


3

The defining point lies somewhere between the Third Symphony and the Fifth Symphony. In particular, I would argue that it's the Fourth Piano Concerto where Beethoven makes the most radical break from Classical to Romantic music, inasmuch as the harmonic freedom exploited in late Mozart and in Beethoven's earlier works is combined with breaking structural "...


3

One piece which is often mentioned is Beethoven's 3rd symphony. I don't think harmony alone could be a defining factor. Bach already has some pretty wild stuff. There's an extremely dissonant chord-progression piece (or section of a piece) by him, but I don't remember what it is (it's not the chromatic fantasie and fugue).


3

Just because the four seasons can be summarized as program music, i.e. containing some extra-musical narrative (found in many eras), is simply not enough, to qualify. There are some composers, which are somewhat on the boundary between two eras, but Vivaldi is none of them. After baroque follows classical, and on classical follows romantic, so the eras are ...


3

An alternative analysis is to treat the tonic in your specific instance as a passing second-inversion to IV. e.g.


3

My guess is that he harmonized the 4th mode of Bb Major: the Eb lydian scale is a whole-tone tetrachord, a perfect fifth and a major tetrachord which gives us only two alterations Eb and Bb. In this case the vi chord would have a major 6th. Now i'm not sure vi6-I is a common modal cadence in Lydian (I would have thought II-I was) because the #IV degree (a ...


3

You don't need to smuggle B♭, it's in C minor already. The note that needs to be introduced is E natural. If you want something a bit less obvious, try Cm, B♭, B♭m, C7♭9, Fm.


3

One possibility is to go the stereotypical Bach route: prepare a normal cadence in the tonic C minor, but instead of cadencing on C minor, cadence onto a C7 chord. The following example is in C major, but you still get the idea. Hear it here.


3

A very good question... G&S certainly deserve credit for bringing orchestration and original composition to the variety hall and hence musical theatre. However, classical and romantic music are specific forms that have their own generally accepted 'rules' of musical composition, style, performance and instrumentation. Purists will point out that G&S ...


3

You mean that they consider Sullivan's work for the commercial theatre less respectable than Mozart's, Verdi's etc? (We're not talking about Baroque/Classical/Romantic etc. categorisation I imagine?) I don't know. You'll have to ask them. Perhaps because they were English. The music hall song in which the protagonist 'changed his name from Bloggs to ...


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