After reading everyone's answers, what is said is that meaning, I now say some of my views
1. The development and characteristics of symphonic music in the romantic period
Early Romantic: 1810~1830 Mid Romantic: 1830~1850 Romantic Imitation of Classicism 1850~1900 Three phases, usually are counted from Schubert. Although Schubert's music still has a strong legacy of the Vienna Classical School, but also overflowing with small, gentle, momentary temptation, exhilaration and almost unreal sense of happiness, is the first after the classical mesmerizing romantic breath, so we used to call him "classical romantic". Weber was also a representative of the Romantic School, and after being influenced by Beethoven and Mozart, these two composers especially showed the slender and delicate side of the romantic style.
The representatives of the middle period are Mendelssohn and Schumann, both of whom, in addition to their subjective special styles, **** the same way to convey the spirit of this romantic era, adhering to the purity and absoluteness of Beethoven, and developing symphonies with beautiful forms. By Brahms, the essence of romance was more precisely condensed. For example, in Schubert's works, the "romantic pain" is only reflected in the emotion, but in Brahms it is already a sensual pain.
Berlioz and Liszt selectively comprehended the revelation depicted in Beethoven's title, and developed a rich symphonic poem, "nature" on the romantic period of the influence is very deep, even the symphony has always attached importance to the beauty of the form of the symphony is not an exception, this reflection is sometimes more direct (eg: Mendelssohn's "Scotland", "Italy" symphony), sometimes more direct (eg: Mendelssohn's "Scotland", "Italy" symphony), and sometimes more direct. Italy" symphony), sometimes more abstract (such as Schumann's "Spring", "Rhine"). The emphasis on nature also sowed the seeds for the rise of nationalism.
The most famous composers of imitation classicism (also called post-romanticism) are Bruckner and Brahms. The two main features of Bruckner's symphonic music are religious sentimentality and the "sound of the pipe organ". It is mainly because of the overly feudal and conservative Austrian Catholicism of the 19th century that Bruckner's clean and uninhibited symphonic world is presented. His unquestioning faith in doctrine was like that of a hard-working old farmer who never complained about his life, no matter what the circumstances. That's not to say he didn't have conflict, but he knew how to bury it in his heart and never bubble up.
The deepest influence on Bruckner was Wagner, especially in harmony and orchestration, but Bruckner was always used to listening to Wagner's musicals with his eyes closed, and everything on the stage had nothing to do with him, and he spiritualized the music of the musicals. Although Brahms and Bruckner lived together in Vienna, they did not mix very well. Brahms came from a Christian family in the north of Germany, his contradictory temperament could not be buried deep in his heart, he was afraid of the fire that burned in his heart because it could not be extinguished, and he could not settle his lonely and unstable mind, which could be felt in his consistent swaying, heavy, and fuzzy rhythms.
After Bruckner and Brahms, the Viennese Symphony was only brought together and brought to a climax by Mahler, who stood on the shoulders of giants. Mahler was at the end of the century in the decadent thinking, the reality of the conflict, friction (life) and retired memories of the good old days (death), is his works constantly alternating themes, that verge on the edge of neurotic musical beauty, on the one hand, the late romantic ecstasy and sizzling pain expressed in the best way, but also for the modern music of the new task of Schoenberg to lay a good appearance of the red carpet.
2. New Romantic Music
(I haven't listened to much music from this period, just Barber's "Flexibles for Strings" and "Symphony")
New Romanticism is a genre that appeared from the 1970s onwards, and usually this kind of music has a tonality, but at this time, the tonality is not the same as the tonality of the period of "*** sexual writing". ** Sexual writing" period of harmony, structure and tonality, but the combination of Romanticism and modernism, with a new musical language to the 50s and 60s prevalent too much rational and abstract music sequence music to negate, the music began to emphasize the expression of emotion, to varying degrees of application of tonality, focusing on the Romantic style. This is neo-romantic music.
Representatives and works are: Italy's Berio and his Symphony, the United States of America's Kramer and his Great Universe, Music of the Summer Nights, Barber's "String Flex", "Symphony", Rochberg's "Symphony", "Piano Suite", Germany's Henze and his Jacob's Dream, and so on.
Find some information:
Luciano Berio Berio, Luciano
(born 1925 in Onelia, now Imperia, Italy). Italian composer. Studied under Ghedini at the Milan Academy until 1951, then learned sequencing techniques from Dallapiccola at Tanglewood, where he worked with Maderna at Radio Italia*** in 1955, where he built the Electronic Music Laboratory until 1961, and went to the U.S. in 1963, teaching in California, where he worked until 1961. In 1963 he went to the United States, where he taught in California and from 1965 at the Juilliard School, returning to Italy in 1971. His work is influenced by serialism, electronic techniques and random music. He uniquely developed the technique of "collage", borrowing musical fragments from other composers or imitating their stylistic features. In his Sinfonia, for example, Berio used material from Mahler's Second Symphony, Wagner's Das Rheingold, Ravel's La Valse, and Strauss's Der Rosenkavalier. In Laborintos II (Labyrinth II), street hollers and exclamations are mixed with pastoral and jazz elements. Another collage piece is Recital Ⅰ (dedicated to Cathy), which was written for his ex-wife, soprano Cathy Burbrian. Cathy Berberian, one of several works (e.g., Epiphany and Sequenza 3) made for his former wife, the soprano Cathy Berberian. A series of Sequenzas for different instruments is essentially music of opportunity. In Circles, the singer can sing the pitches indicated on the score or similar pitches of her choice. As a young man, Berio was a conductor in a small traveling opera company in Milan, and as such has always had a passion for theater music, although the dramatic works he has composed have so far been otherworldly.
Barber, Samuel
(b. 1910, West Chester, Pennsylvania; d. 1981, New York). American composer; played piano at age 6; composed music at age 7; entered Curtis Institute of Technology, Philadelphia, as one of the first admitted students at age 14; studied composition with Scalero, 1925-34; piano with Isabel Vengirova, 1926-31; and voice with Emilio Degorgolza, 1926-30; in 1928 he met with Gian After meeting Gian Carlo Menotti in 1928, his friendship was long-lasting and fruitful, and from 1933 onwards his works began to be performed, most notably the setting of Arnold's poem Dover Beach (in which he himself sang the baritone part) and his Cello Sonata (in which he himself played the piano part.) He was awarded the Pulitzer Fellowship in 1935 and the Rome Prize of the American Academy in 1936. was awarded the Prix de Rome of the American Academy. In the same year his Symphony No. 1 was premiered in Rome, with Molinari conducting. Toscanini conducted Barber's Adagio for Strings (originally the slow movement for string quartet) and the first Essay for Orchestra in 1938, followed by premieres in New York, Boston, and Philadelphia in the following years, conducted by Walter, Kouszewiecki, Reinsdorf, Mitropoulos, Ormandy, and Mehta. Conducting premieres. His four-act opera Antony and Cleopatra, with libretto by Zeffirelli, was commissioned by the new Metropolitan Opera at Lincoln Center in New York for its September 1966 opening.
Barber's music is in the European tradition rather than being peculiarly "American". The musical language is conservative, melodic, elegant and ornate. His lyricism can be heard most clearly in "Vanessa" and the soprano and orchestra piece "Knoxville: Summer of 1915" (Knoxville: Summer of 1915), and his romanticism is on display in "Dover Beach", the Cello Sonata and Symphony No. 1. His Piano Sonata, premiered by Horowitz, is a brilliant showpiece. Several of the operas initially received a lukewarm response, but listener attitudes gradually shifted, and the concertos and songs worked superbly.
George Crumb Crumb, George
(b. 1929, Charlestown, WV). American composer. taught piano and composition at the University of Colorado, Boulder, 1959-64. taught in the Department of Music at the University of Pennsylvania in 1965 and became Professor of Humanities there in 1983. The music is extremely individualistic. Influenced early on by Wilburn, he later became interested in the new sound and adopted a compositional technique that was sometimes fragmentary and sometimes all about chance, but did not strive for monstrous effects, and the ideas he expressed remained clear and understandable. For example, in 1972, a group of piano for the expansion of the fantasia "Makrokosmos" (Makrokosmos), which can not use many special piano techniques, the effect is very poetic.
Rochberg, George
(b. 1918, Paterson, N.J.). American composer; studied composition with Mannes and Searle at the Mannes School of Music, New York, 1939-42; attended the Curtis Institute of Technology under Scalero, 1945; faculty member of the Curtis Institute of Technology, 1948-54; head of the music department at the University of Pennsylvania, 1961-68, and professor of music from 1968. He was influenced by Mahler and Schoenberg, and his music developed into a distinctive serialist style, but later returned to being tonal. Has written many critical articles.
Henze, Hans Werner
(Born 1926 in Gütersloh, Westphalia). German composer and conductor, studied at the State Music School in Braunschweig 1942-44, Heidelberg 1946, privately with Fortner 1946-48, Schoenberg's twelve-tone system with Leibowitz in Darmstadt 1948, and in Wiesbaden 1950, music director of the ballet of the Staatskapelle Hesse. In 1953 he settled in Italy, and in the mid-1960s he moved to the extreme left politically, and much of his work since then has reflected his radical ideals and beliefs. A dazzling variety of musical styles, showing his gifted imagination and uninhibited character. He was not only a German composer, but also a French and Italian composer. The styles of Schoenberg, Stravinsky or the music of chance he used with aplomb. The main characteristic of his compositions is their lyrical and sonorous beauty. With rich and delicate sound color and skillful choral writing.
There is an article about Rochberg in the computer (The Collision and Integration of Multiple Musical Styles
Rochberg's Piano Suites - Carnival Music, IV. "Sfumato," an analysis).
It can be passed on to you if desired
The Suite from The Planets is a mammoth work, with the entire work divided into seven movements and named after seven of the nine planets (with the exception of Earth and Pluto, which was unknown to mankind at the time). The orchestra is also unusually large, using wind instruments such as bass flute, bass oboe, bass clarinet, bass tuba, tenor tuba, as well as organ and numerous percussion instruments, and a six-part female chorus (sometimes replaced by two solo flutes) in the final movement. The combination of so many instruments produces a wealth of acoustic color, as in the "Mars" movement, where the full orchestra demonstrates the power of earthquakes and earthquakes. But perhaps because of the sheer size of the Planets Suite and its orchestra, the work is seldom performed in its entirety, with only three or five movements, or sometimes a single one.
In terms of the significance of the Suite of the Planets, it has nothing to do with astronomy, but is based solely on the astrology familiar to the ancient Chaldeans, Chinese, Egyptians, and Persians, of which Holst told a reporter at a public performance of the entire work in 1920, "The composition of these pieces was inspired by the astrological significance of the planets. These pieces were inspired by the astrological significance of the planets. They are not title music, nor do they have any connection with the eponymous gods and goddesses of ancient mythology. If any musical guidance were needed, the subtitle of each piece would suffice, especially in the broader sense. Jupiter, for example, brings what is commonly called joy, and that ceremonial joy which is associated with religious or national festivities; Saturn brings not only physical decline, it also marks the realization of ideals; and Mercury is a symbol of the mind."
Movement 1 Mars - The War Messenger
Holst completed this movement on the eve of the outbreak of the First World War in August 1914, and it has therefore been suggested that the composer's music for this movement was a prophecy of the war that was then looming. Indeed, the music of this movement, especially the brutal, agitated crescendo rhythmic patterns played by the percussion and stringed bowed bar strikes, gives a sense of aggressive urgency and suggests armies on the march. The movement's depressing and provocative first theme is played by the tubas and French horns.
The characteristic weak (p) rhythmic pattern at the beginning of the music builds in intensity as this first theme hisses, and when it reaches a very strong (fff), the second theme of the movement bursts out on the brass. The effect can be summarized as follows: two murderous armies are closing in on each other, swords are everywhere, and when they finally make contact, a short battle inevitably breaks out.
The battle continues, and the addition of the organ brings the music to a new climax, when the B-flat tuba and C-flat trumpet play the marching horns.
However, this is not the clarion call for victory, as the woodwinds and strings unfold in low, oppressive, whimpering sound on the second theme, and the brutal, brutal reproduction of the themes unfolds into an even more thrilling scene of war.
The second movement Venus - Messenger of Peace
This movement becomes more and more serene and quiet due to the contrast of the ferocious war music of the previous movement. It reminds one of a paradise without thunder and lightning, far away from the noise of war, where a peaceful and joyful scene is presented everywhere. At the beginning of the movement, the French horns presented an upward melody, to which the flute and oboe responded with a series of chords.
The development of the music was extremely poetic: the sustains on the flute and French horn were like the chirping of cicadas in autumn; the chords of the two harps were like the flow of a clear stream; the downward patterns of the bells and the clavichord were like the gushing of a clear spring. In this atmosphere, the solo violin sings a moving love song, and the subsequent development of the entire movement builds on this theme.
The third movement, Mercury - the Flying Messenger
The planet Mercury is said to be the symbol of the winged messenger and the protector of thieves, making this movement an unusually witty and nimble piece of music with a sharp, witty beat. The movement begins with a fast-moving pattern on the strings and woodwinds with mutes, and then the oboe and English winds present the brisk and playful melody of the first theme. One could say that this is a portrait of the messenger, who is busy traveling from house to house, bringing the gospel and joy to the people.
The second theme is in the style of a folk song, and shows the people celebrating the arrival of the flying messenger and the message he brings.
The fourth movement, Jupiter - Messenger of Joy
Compared with the other movements, this one is grand in conception and longer in length. The whole movement may be divided into three parts, the first of which begins with a rapid broken bow of the violin, under which the first theme erupts with great fervor, and whose joyousness is so unusually voluminous that it seems to shake the heavens.
The mood of joy was like a scene, one after the other. In between these "scenes", there is a fixed idea of joy played by the brass instruments, which is like a trumpet, announcing the arrival of new joys. The movement's second theme is a vocal melody, played by a group of six French horns and strings.
The third theme, a demure folk dance, is first played by the French horns and then passed between the woodwinds, strings and brass groups.
In the second part, the tempo shifts from Allegro to Allegro, and the music becomes extraordinarily stately and full of what Holst calls "liturgical joy". The entire second part consists of a devotional hymn, with an eloquent progression reminiscent of a hymn sung by a church choir.
The third part reverts to an up-tempo tempo, and after a brief recapitulation of the three themes at the beginning once again builds to a folk-festival-like climax, Legrande concludes with a majestic short coda.
The fifth movement, Saturn - The Elderly Messenger
The "Saturn" movement is one of the most exciting in the Planets suite, and one of the more frequently played on its own. It begins with a fixed rhythm of two alternating neighboring tones, played by flute, tuba and two harps, which symbolizes the staccato, stagnant and monotonous gait of the elderly, and is also a reflection of the passing of time and the decline of physical strength. Against this backdrop, the basses play a lamenting motive, which gradually develops into the only theme in the movement played by the tenor trombone. As Holst makes clear, this theme not only expresses "physical decline" but also implies "ideal realization".
On the basis of this theme, the piece unfolds in layered variations. There are deep thoughts and hopes, funeral march-like rhythms and vespers bells, as well as memories of the good old days.
Movement 6 Uranus - The Magician
This music is also a wonderful passage in the Planets Suite. Holst's use of modern compositional techniques, such as fickle tonal and orchestral colors and abrupt changes in intensity, achieve a bewildering, magical effect. The music begins with a motif played by the brass, the image of a magician - mysterious and unpredictable, terrifying and ominous.
The movement's main theme is a mid-evil, leaping melody played by the big-bass breaks, which draws the other instruments into the fold.
On the back of this "limping march," two more themes emerge, the former busy and the latter strutting.
The music builds to a crescendo and then abruptly ends in a series of trivial downbeat patterns on piccolo, flute and clarinet. The exuberant rhythms of the walking drums seemed to be a magician's new incantation, bringing in a new phrase and pushing the music to a new climax.
Suddenly, a grotesque glissando sounded on the organ, like a gate blocking the giant stream of sound, making the tempo low and sluggish and reducing the crescendo to a few single long notes. It is in this disturbing atmosphere that the movement ends.
The seventh movement, Neptune - The Mystic
The last movement, "Neptune," is a quiet and gentle movement, but at the same time it shows a mysterious and hazy space scene, and the first theme of the movement is constructed in this tone. The first theme of the movement is constructed in this tone.
Holst's use of steel, harp and violin arpeggios succeeds in conjuring a sense of disorientation and wonder. After the music moves from a line to a small Allegro, the clarinet very softly presents the second theme, accompanied by vocals and string harmonies.
For his desired effect, Holst made a point of noting the arrangement of the chorus on the score: "The chorus shall be placed in a room adjacent to the stage, the door of which shall remain open until the last bar of the whole piece, when it shall be closed softly and quietly. The chorus, the door, and any number of subconductors that may be required, are to be separated from the audience by a screen."
(Continued)