The Romantic Era (1 ene 1820 año – 1 ene 1900 año)

Descripción:

Mood shift to one of grandiosity instead of elegance.
Conventional structures gave way to freer forms, and expressive individuality determined by text.
Dynamic ranges of volume were used to achieve dramatic effect
Numerous expressive marking were used in scores to get the point across to performers
Composers began to expand upon sonata, fugue, and ABA configurations, or to forsake these altogether for now forms.
Motivic material designed to represent a specific emotion or character was employed by using leitmotif.
Program notes begin to be widely used in performance.


ENGLAND
Choral music finally begins to flourish in England with the development of music schools
Sight-singing and music literacy are focused on through programs that reached thousands of singers.
Continuation of adding production to oratorios like set pieces. And multiple choral movements and conservative harmonies used in composition.
Later Classical works were fluid, through-composed works that were unified by leitmotifs.
Church music remained conventional, whereas small-scale secular pieces followed the patterns of German Romantic composers, with homophonic textures and careful attention to text declamation.
Main genres were oratorios, odes, cantatas, and miscellaneous choral/orchestral festival works as well as Anglican Services, anthems, motets, and hymn tunes. Secular madrigals, part songs, and glees were still being worked on as well.

USA
Most music was written in Boston/New York
European music was still revered and emulated, most American work patterning their compositions on Bach, Handel, Haydn, and Mendelssohn.
Fluid-through composed pieces were more frequent.
Mostly followed Western European trends
Oratorios, symphonies, cantatas, odes, anthems, and anglican services (hymns)


RUSSIA
St. Petersburg the hub of choral activity in the early era, Moscow in the later
Russian music of the Romantic Era was pretty consistent when it came to compositional style, a style that began during the Classical Era and extended well into the 20th century.
This style was based partly on the work of Bortnyans’ky, who employed no symphonic forms, figural motifs, or standard harmonic progressions for the time, and expanded tessituras. This style was indicative in Russian Romantic compositions past his time.
In the Romantic era, many composers were experimenting with the avant-garde techniques, which was contrary to this Russian Style.
Russian Orthodox music consisted of anthem-like pieces that are part of liturgical events.
All Night Vigil
Divine Liturgy Cycles
Opera
Orchestral works
Cantata
Oratorio

FRANCE
Masses, motets, oratorios, cantatas, art songs
Oratorios more important early and less important late

ITALY
Interest in choral music continued to decline, while interest in opera rose
The grand choral works by the operatic composers were still well received fortunately

AUSTRIA/GERMANY
Conservative composers were interested in motets and masses
Oratorios were both backward and forward-looking depending on the composer’s style
Cantatas and other choral/orchestral works were generally new in concept, and don’t really have a genre classification. They are just settings of secular texts scored for chorus and orchestra.
Choral Symphony appears as a new genre.
Part songs were basically similar to those in the Classical era.

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