the romantic generation by charles rosen

Schumann was to die only a few years later, after entering an insane asylum in the 1850s Liszt renounced much of his adventurous early manner, pruned his youthful works of their excesses, and developed new directions of style, many of which would be realized only after his death by musicians who took no account of his experiments. The death of Chopin in 1849 was not so signal an event for the world of music, but it, too, marked the end of an age. I think it is probable that Beethoven's death hastened the rapid development of new stylistic tendencies which had already made themselves felt and which, indeed, even influenced his own music. Perhaps only Chopin was not intimidated by the commanding figure of authority that Beethoven represented for generations to come. The death of Beethoven in 1827 must have given a sense of freedom to the composers born almost two decades earlier: Chopin and Schumann in 1810, Mendelssohn the year before, Liszt the year after. It is equally fatal to have a system and not to have a system. The inspiration of Beethoven and Clara Wieck 658. Twelve Schumann: Triumph and Failure of the Romantic Ideal The irrational 646. Religion in the concert hall 590Įleven Romantic Opera: Politics3 Trash, and High Art Politics and melodrama 599.

Classical form and modern sensibility 586. T e n Mendelssohn and the Invention of Religious Kitsch Mastering Beethoven 569. Long-range harmony and contrapuntal rhythm: the 'Scene d'amour' 556 Tradition and eccentricity: the idee fixe 546. Nine Berlioz: Liberation from the Central European Tradition Blind idolaters and perfidious critics 542. The invention of Romantic piano sound: the Etudes 491. The Sonata: the distraction of respectability 479. Die Lorelei: the distraction of influence 474. Freedom and tradition 452Įight Liszt: On Creation as Performance Disreputable greatness 472. Seven Chopin: From the Miniature Genre to the Sublime Style Folk music? 410. Virtuosity and decoration (salon music?) 383. Six Chopin: Virtuosity Transformed Keyboard exercises 361. Song cycles without words 220įive Chopin: Counterpoint and the Narrative Forms Poetic inspiration and craft 279. Three Mountains and Song Cycles Horn calls 116. Quotations and memories 98 Absence: the melody suppressed 112 Experimental endings and cyclical forms 78.

One Music and Sound Imagining the sound 1. Harvard University Press Cambridge, MassachusettsĬopyright © 1995 by Charles Rosen All rights reserved Printed in the United States of America Sixth printing, 2003 Based on the Charles Eliot Norton Lectures

The romantic generation by charles rosen