Music in the Romantic Period (Music 536)
Spring Semester (2009), Monday, Wednesday, and Friday,
1:00–1:50 p.m., room 121
Dr. Rosenblatt, office #227
Office hours: Mondays and Wednesdays, 2–4 p.m., or
by appointment
Office Phone: 621-1120
E-mail: jrosenbl@u.arizona.edu
Web page: http://web.cfa.arizona.edu/rosenblatt/
Course Description
The purpose of this class is to explore the history of
music of the romantic period, beginning around 1813 and ending around
1890. In addition to discussion of
various genres and musical forms, the sessions will explore the connection
between music and society, including the expectations of contemporary musicians
and audiences.
Course Objectives
1. to develop an historical
understanding of the period 1813–1890
2. to explore the underlying
forms and compositional techniques that distinguish this period
3. to understand social
expectations and the ways they may have shaped the lives of the composers and
influenced their resulting works
4. to discuss current scholarly
research
Class Policies
Assignments:
The
course work consists of listening and reading assignments, and books and scores
are on reserve in the music library (for recordings, see below). Also required are two 5–6 page
papers on assigned works. The "questions"
included in most week's assignments will help focus your reading for class
preparation and may also be the topic of class discussions. An "optional" longer paper
(8–10 pages) may be done at the student's discretion to raise a
grade. This paper must have a
strong research component and include citations and bibliography. Finally, this paper should be an
original work, written by the student for this class. First paper due: Friday, February 20; second paper due,
Friday, April 17; optional paper TBA.
Listening: All
required listening can be found at <http://eres.library.arizona.edu/>
(Electronic Reserves), and to access the files for this class, you will need
the password ("schumann").
Exams: There will be a midterm
examination that will cover course material since the beginning of the semester
(Friday, March 6), and a final examination that will cover material since the
previous midterm (Monday, May 11).
The exam questions include information from the readings and the
lectures, which do not necessarily overlap: if you cannot be present at a class
session, please be sure to get notes from someone who was.
Grading: Midterm
(30%), Final (30%), two papers (20% each). In the event that a student chooses to write an optional
paper, the above percentages will be 5% less, and the additional paper worth
20%. All grades will be assigned
according to a 100 point standard, with A = 90–100, B = 80–89,
etc. According to the requirements
of the School of Music, you must receive a grade of "C" or higher in
order for this class to count towards your degree. Please note that no one will be given an "I"
(incomplete) unless nearly all the course work has been completed. Note also this class cannot be
repeated.
Attendance: Students
are expected to attend all class sessions. If circumstances do not permit attendance, please contact me
before class. It is imperative
that you obtain class notes of any missed classes from another student.
Texts
Required Texts (on sale at the bookstore):
(1) Leon Plantinga, Romantic Music: A History of Musical
Style in Nineteenth-Century Europe
(2) Franz Schubert, Symphony No. 8 ("Unfinished")
(Norton Critical Scores)
(3) Robert Schumann, Dichterliebe (Norton Critical Scores)
(4) Johannes Brahms, Symphony No. 3 in F Major, Op. 90 (Dover
Miniature Scores)
Also required (available at Harvill Copy Center in bi-weekly
installments):
(5) Music Anthology
(will also include the Analysis Assignments)
Optional Text (also on sale at the bookstore):
(6) Piero Weiss & Richard Taruskin, Music in the Western
World: A History in Documents
Readings (on reserve in the music library):
Andrew Bonner, "Liszt's Les
Preludes and Les Quatre Élémens," 19th-Century Music 10 (Fall 1986): 95–107
[JSTOR, linked through Electronic Reserves]
Julian Budden, The Operas of
Verdi (vol. 1)
[ML410.V4 B88]
David Cairns, trans., The
Memoirs of Hector Berlioz [ML410.B5 A243 1969]
Martin Chusid, ed., Schubert:
Symphony in B Minor ("Unfinished") [M1001.S38 no.8N]
Carl Dahlhaus, Nineteenth-Century
Music
[ML196.D2513 1989]
Eric Frederick Jensen, "Explicating
Jean Paul: Robert Schumann's Program for Papillons, Op. 2," 19th-Century
Music 22 (Fall
1998): 127–143 [JSTOR, linked through Electronic Reserves]
Arthur Komar, ed., Schumann:
Dichterliebe
[M1621.4.S392 1971]
Alexander Main, "Liszt After
Lamartine," Music and Letters 60 (1979): 133–148 [JSTOR, linked through
Electronic Reserves]
William S. Newman, The Sonata
Since Beethoven
[ML1156.N44 1983]
Leon Plantinga, Romantic Music [ML196.P6 1984]
Henry Pleasants, ed., The
Musical World of Robert Schumann [ML196.S3]
Charles Rosen, The Classical
Style: Haydn, Mozart, Beethoven (expanded edition) [ML195.R68 1997]
Oliver Strunk, Source Readings
in Music History
[ML160.S89, ML160.S89 1998 v.6]
Piero Weiss & Richard
Taruskin, Music in the Western World: A History in Documents [ML160.M865 1984]
Scores (on reserve in the music library):
Vincenzo Bellini, La
sonnambula
[M1503.B444s]
Hector Berlioz, Fantastic
Symphony (Norton
Critical Scores) [M1001.B51s N88]
Hector Berlioz, Requiem
[M2010.B515r]
Hector Berlioz, Roméo et
Juliette
[M3.B515 v.18]
Johannes Brahms, Ein deutsches
Requiem
[M2010.B813r K14]
Johannes Brahms, Complete
symphonies in full orchestral score [M1001.B81 G3 1974]
Anton Bruckner, Symphony No. 7
[M1001.B88 no. 4 1990]
Gaetano Donizetti, Lucia di
Lammermoor
[M1500.D683 L7 1992]
César Franck, Symphony in D Minor
[M1001.F822 op.48 1987]
Giacomo Meyerbeer, Le prophčte [M1503.M613 P76]
Gioachino Rossini, L'italiana
in Algeri
[M1503.R835 I8 1966]
Gioachino Rossini, Tancredi [M1503.R835 T162 1991]
Franz Schubert, Symphony in B
Minor ("Unfinished") [M1001.S38 no.8N]
Robert Schumann, Dichterliebe (Norton Critical Scores)
[M1621.4.S392 1971]
Bedrich Smetana, The Moldau [M1002 .S638m no.2]
Giuseppe Verdi, Otello [M1500.V48o]
Giuseppe Verdi, Requiem [M3.V48
1983 ser. 3 v. 1]
Giuseppe Verdi, Rigoletto [M1500.V48 R3 1992]
Giuseppe Verdi, Il trovatore [M1500.V48tro]
Richard Wagner, Götterdämmerung [M1500.W134 G6 1982]
Carl Maria von Weber, Der
Freischütz
[M1500.W374 F7 1977]
Class Sessions (the amount of class time given
to each topic may be subject to change):
Week One (January 14): Introduction. Beethoven I.
Ludwig van Beethoven
(1770–1827)
Listening: Sonata No. 27 in E Minor, Op. 90
Reading: Plantinga, chapter 1; Strunk (1950 ed.), pp. 750–763
— or — (1998 ed., vol. 6) pp. 19–30 (Wackenroder)
No class session Monday,
January 19 (Martin Luther King, Jr., Day)
Week Two (January 21): Beethoven II. Beethoven's Contemporaries.
Ludwig van Beethoven
(1770–1827)
Johann Nepomuk Hummel
(1778–1837)
Carl Czerny (1791–1857)
Listening: Beethoven, "An die ferne Geliebte," Op. 98
Beethoven,
Sonata No. 31 in A-flat Major, Op. 110
Czerny,
Variations on a theme of Rode ("La ricordanza"), Op. 33
Hummel,
Sonata in F-sharp Minor, Op. 81 (first movement)
Reading: Plantinga, chapter 3; chapter 4, pp. 79–82,
91–103
Question: How does Hummel's use of sonata form differ from Beethoven's?
Week Three (January 26): Schubert.
Johann Friedrich Reichardt
(1752–1814)
Carl Loewe (1796–1869)
Franz Schubert (1797–1828)
Listening: Reichardt, "Erlkönig"
Loewe,
"Erlkönig," Op. 1, no. 3
Schubert,
Lieder (Op. 1 and 4)
Schubert,
"Wanderer" Fantasy, Op. 15 (D. 760)
Schubert,
Symphony No. 8 in B Minor, "Unfinished" (D. 759)
Reading: Plantinga, chapter 4, pp. 82–91, 103–106;
chapter 5; Norton Critical Score, pp. 3–11, 98–110; Dahlhaus, pp.
152–160
Question: How does Schubert's use of sonata form differ from Beethoven's?
Assignment: First Analysis Paper (Mendelssohn, "Hebrides"
Overture, Op. 26— due Friday, February 20)
Week Four (February 2): Rossini and Italian Opera.
Gioachino Rossini
(1792–1868)
Vincenzo Bellini
(1801–1835)
Gaetano Donizetti
(1797–1848)
Listening: Rossini, Tancredi, Act I (Recitative e Cavatina,"O patria!")
Rossini, L'italiana
in Algeri, Act I
(Recitative e Cavatina, "Quanta roba!")
Bellini, La
sonnambula, Act
I (Scena e Cavatina, "Care compagne")
Donizetti, Lucia
di Lammermoor,
Act I (Scena e Cavatina, "Ancor non giunse")
Reading: Plantinga, chapter 6, pp. 127–143; Budden, vol. 1, pp.
3–24
Week Five (February 9): German Opera. French Grand Opera.
Carl Maria von Weber
(1786–1826)
Giacomo Meyerbeer
(1791–1864)
Listening: Weber, Der Freischütz, Act I, nos. 3–4
Meyerbeer, Le
prophčte, Act
IV, sc. ii (extract)
Reading: Plantinga, chapter 6, pp. 150–165
Question: How do these examples of opera differ from the Italian
selections of Week Four?
Week Six (February 16): The Romantic Generation I.
Hector Berlioz
(1803–1869)
Robert Schumann
(1810–1856)
Prerequisite: Berlioz, Symphonie fantastique, Op. 14
Listening: Berlioz, Roméo et Juliette, Op. 17 (excerpts)
Schumann,
Fantasy in C Major, Op. 17 (first movement)
Reading: Plantinga, chapter 7, pp. 166–173, 203–219;
Cairns, The Memoirs of Hector Berlioz, pp. 247–252 (chapter 49); Rosen, The
Classical Style,
"Epilogue," pp. 451–454 (to end of first complete paragraph)
Questions: Look up "fantasia" in at least two music
dictionaries or encyclopedias. How
does this term apply to Schumann's work? to Berlioz's work?
Week Seven (February 23): The Romantic Generation II.
Nicolň Paganini
(1782–1840)
Franz Liszt
(1811–1886)
Frédéric Chopin
(1810–1849)
Robert Schumann
(1810–1856)
Felix Mendelssohn
(1809–1847)
Listening: Paganini, Caprice, Op. 1, no. 17
Liszt,
Paganini Etude No. 2 (two versions)
Liszt,
Paraphrase de Concert: Rigoletto
Schumann,
Papillons,
Op. 2
Chopin,
Ballade, Op. 23
Reading: Plantinga, chapter 7, pp. 173–203, and chapter 8;
Weiss & Taruskin, (1st ed.) pp. 340–345, 357–365 — or
— (2nd ed.) pp. 289–293, 303–310; Eric Frederick Jensen, "Explicating
Jean Paul: Robert Schumann's Program for Papillons, Op. 2"
Week Eight (March 2): The Romantic Generation III. Midterm Examination.
Robert Schumann
(1810–1856)
Listening: Schumann, Dichterliebe, Op. 48
Reading: Norton Critical Score, pp. 3–12
Midterm: March 6
Week Nine (March 9): New Directions in Form I.
Robert Schumann
(1810–1856)
Listening: Schumann, Piano Concerto in A minor, Op. 54 (first movement)
Schumann,
Symphony No. 4 (first version, 1841)
Reading: Pleasants, pp. 107–109,
146–147
Spring Break (Saturday, March 14 to Sunday,
March 22)
Week Ten (March 23): New Directions in Form II.
Franz Liszt
(1811–1886)
Listening: Liszt, Sonata in B Minor
Reading: Newman, pp. 359–378
Question: How do the Schumann and Liszt works relate to the symphonies
and sonatas discussed earlier in the semester?
Week Eleven (March 30): Italian Opera and Verdi.
Giuseppe Verdi
(1813–1901)
Listening: Verdi, Rigoletto, Act III (extract)
Verdi,
Otello, Act
III (extract)
Reading: Plantinga, chapter 10, pp. 298–323; Budden, vol. 1,
pp. 27–41; Weiss & Taruskin, (1st ed.) pp. 406–411 — or
— (2nd ed.) pp. 345–350
Questions: How does Verdi's approach to opera differ from the composers
in Week Four? How is it the same?
Assignment: Second Analysis Paper (Verdi, aria from Il trovatore — due Friday, April 17)
Week Twelve (April 6): Wagnerian Opera.
Richard Wagner
(1813–1883)
Listening: Wagner, Götterdämmerung, Act III (conclusion)
Reading: Plantinga, chapter 9; Weiss & Taruskin, (1st ed.) pp.
374–375 — or — (2nd ed.) pp. 319–320
Questions: How does Wagner's approach to opera differ from earlier
composers? How is it the same?
Week Thirteen (April 13): Sacred Music.
Hector Berlioz
(1803–1869)
Giuseppe Verdi
(1813–1901)
Johannes Brahms
(1833–1897)
Listening: Berlioz, Requiem ("Dies irae")
Verdi,
Requiem ("Dies irae" through "Tuba mirum")
Brahms,
Ein deutsches Requiem (sixth movement)
Question: Contrast the treatment of "Judgement Day" in the
three Requiems.
Week Fourteen (April 20): The Symphonic Poem. Nationalism.
Franz Liszt
(1811–1886)
Bedrich Smetana
(1824–1884)
Modest Musorgsky
(1839–1881)
Listening: Liszt, Symphonic Poem No. 3, "Les préludes"
Smetana,
The Moldau
Musorgsky,
Boris Godunov,
"Coronation Scene"
Reading: Plantinga, chapter 11, pp. 341–358, 362–397,
chapter 12, pp. 405–411; Main, "Liszt After Lamartine"; Bonner,
"Liszt's Les Preludes and Les Quatre Élémens"; Dahlhaus, pp.
236–244; Weiss & Taruskin, (1st ed.) pp. 380–385, 390–396
— or — (2nd ed.) pp. 324–329, 333–338
Question: What is the relationship between Liszt's program and his
symphonic poem?
Week Fifteen (April 27): The Second Age of the Symphony.
Johannes Brahms
(1833–1897)
César Franck
(1822–1890)
Anton Bruckner (1824–1896)
Listening: Brahms, Symphony No. 3 in F Major, Op. 90
Bruckner,
Symphony No. 7 in E Major (first movement)
Reading: Plantinga, chapter 12, pp. 417–446; Dahlhaus, pp.
265–276; Weiss & Taruskin, (1st ed.) pp. 397–405 — or
— pp. 338–345
Questions: How does the use of sonata form in these works compare with
the examples from earlier in the semester? What do these works have in common with the symphonic poem?
Week Sixteen (May 4): Review.
Final Examination: Monday, May 11, 11:00 a.m. — 1:00 p.m.