The Romantic GenerationHarvard University Press, 15/09/1998 - 744 páginas What Charles Rosen's celebrated book The Classical Style did for music of the Classical period, this new, much-awaited volume brilliantly does for the Romantic era. An exhilarating exploration of the musical language, forms, and styles of the Romantic period, it captures the spirit that enlivened a generation of composers and musicians, and in doing so it conveys the very sense of Romantic music. In readings uniquely informed by his performing experience, Rosen offers consistently acute and thoroughly engaging analyses of works by Schubert, Schumann, Mendelssohn, Bellini, Liszt, and Berlioz, and he presents a new view of Chopin as a master of polyphony and large-scale form. He adeptly integrates his observations on the music with reflections on the art, literature, drama, and philosophy of the time, and thus shows us the major figures of Romantic music within their intellectual and cultural context. |
Índice
ONE Music and Sound | 1 |
the absent melody 7 Classical | 38 |
The Fragment as Romantic form 48 Open and closed 51 Words | 98 |
the melody suppressed | 112 |
Horn calls 116 Landscape and music 124 Landscape and the double time | 220 |
FOUR Formal Interlude | 237 |
Fourbar phrases | 257 |
Counterpoint and the Narrative Forms | 279 |
the distraction of influence 474 | 511 |
Sonnet no 104 517 SelfPortrait as Don Juan | 528 |
Liberation from the Central European Tradition | 542 |
the idée | 556 |
TEN Mendelssohn and the Invention of Religious Kitsch | 569 |
Mastering Beethoven 569 Transforming Classicism 582 Classical form and mod | 590 |
Politics Trash and High | 599 |
Politics and melodrama 599 Popular art 602 Bellini 608 Meyerbeer | 639 |
Poetic inspiration and craft 279 Counterpoint and the single line 285 Narrative | 344 |
Keyboard exercises 361 Virtuosity and decoration salon music? 383 Morbid | 398 |
From the Miniature Genre to the Sublime Style | 410 |
Folk music? 410 Rubato 413 Modal harmony? 416 Mazurka as Romantic | 452 |
On Creation as Performance | 472 |
Triumph and Failure of the Romantic Ideal | 646 |
The irrational 646 The inspiration of Beethoven and Clara Wieck 658 The inspi | 699 |
711 | |