Unit XIX Absolute Forms in the Nineteenth Century

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Unit XIXAbsolute Forms in the Nineteenth Century

• Chapter 54
• The Romantic Concerto

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Definition

• A large-scale work in several movements for solo
  instruments and orchestra. The opposition of the
  soloist(s) versus the larger sound of the full
  orchestra tutti forms the basis for this type of
  work.

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Form

• Size is similar to a symphony.
• Usually three movements.
• First Movement - usually a dramatic allegro in
  sonata form.
• Slow second movement
• Brilliant finale

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Special Features

• Addition of the soloist slightly alters the
  sonata form. Usually either the soloist or the
  full orchestra (the tutti) introduces the themes
  and then they are repeated by whichever did not
  play. This double statement of themes creates
  what is called a double exposition.

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Cadenza

• Characteristic of the concerto, it is a virtuosic
  and improvisatory solo passage. It is made
  dramatic by the complete halt of the orchestra.
  Originally this was completely composed on the
  spot. Later, as less and less of the performers
  were the composer, the cadenzas themselves were
  composed with the piece.
• Tchaikovsky, Violin Concerto in D

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Virtuosity in the Nineteenth Century

• The concerto, particularly since Mozart and
  Beethoven had been a primary vehicle for
  virtuosic display.
• Greatest nineteenth century contributors to the
  genre include Mendelssohn, Chopin, Liszt,
  Schumann, Brahms, and Tchaikovsky, among many
  others.

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Felix Mendelssohn (1809-47)

• Born into a wealthy and well-educated Jewish
  family. His grandfather Moses Mendelssohn was a
  famous Jewish philosopher in the eighteenth
  century. Felix's family converted to
  Protestantism while he was a child.

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Fostering Mendelssohns Gift

• The Mendelssohn home was a center of cultural and
  artistic activity in Berlin while Felix grew up.
  He directed the orchestra for many productions in
  their garden.Excelled as a pianist, conductor,
  organizer of musical events, and educator.
  Unfortunately no single role was able to ever
  catch his full attention.

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Mendelssohn as an Educator

• Posts include director of the Leipzig Gewandhaus
  Orchestra, organizer of the Academy of Music in
  Berlin for Fredrick William IV, and founder of
  the Leipzig Conservatory.

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Mendelssohn the Artist

• He made 10 concert tours of England - Most
  admired composer there since Handel and Haydn.
• Died of a stroke at age 38.

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Mendelssohn the Traditionalist

• Like Brahms was interested in preserving and
  furthering the traditions of classical form. He
  did however allow programs into that framework.

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Instrumental Music

• Best known symphonies Scotch (No. 3), and the
  Italian (No. 4).
• His Concerto for Violin and Orchestra (1844) is
  one of the most popular ever written.
• Octet for Strings
• Songs without Words (1829-42) - eight short piano
  pieces

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Vocal Music

• Many vocal works including 2 great oratorios
  Elijah and St. Paul
• Considered the greatest master of 19th century
  oratorio

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Renown

• Mendelssohn was the most admired composer in
  England since Handel and Haydn. The first
  edition of Grove's Dictionary (1880) devoted its
  longest article to him--sixty-eight pages. Bach
  received eight.

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Violin Concerto in e minor (1844)

• Mendelssohns last orchestral work
• One of the most popular violin concertos of all
  time
• Reveals clarity of form, subtlety of
  orchestration, reserved, sentimental expression
• 3 movement sonata cycle, but played without pause
• Cyclical thematic references in the second
  movement, referring to the first