(THE SEVENTEEN KINDS OF ROMANTICISM (1 - REVOLUTIONARY, REBELLIOUS ROMANTICISM (An emphasis on political and artistic freedom and originality, the new, the different, the individual. a discontent with the formulas, conventions and traditions of the past (2 - NATIONALISTIC, PATRIOTIC ROMANTICISM (A deep sense of "nationhood" -- e.g. Italian, German, Russian, French, English, Czech national schools (3 - FOLK ROMANTICISM (An admiration for the simple life of the common man and the peasant (Enormous interest in folklore and folk songs (4 - CHILD WORSHIP ROMANTICISM (A romanticizing of the pure innocence of childhood. (Charles Dickens's (1812-1870) Tiny Tim was the paradigm of innocent childhood. (Robert Schumann's (1810-1856) Scenes from Childhood captured that innocence musically. Dickens's A Christmas Carol! (5 - NATURE ROMANTICISM (The worship of nature in both its ferocious, destructive aspects as well as its tranquil, comforting side (6 - MEDIEVAL, LEGENDARY, EXOTIC ROMANTICISM (Interest in medieval legends, far-off exotic places and times (A view of art as an escape from reality (The neo-Gothic revival in architecture (7 - SUPERNATURAL, MYSTICAL ROMANTICISM (Interest in the weird, fanciful, supernatural, fantastic -- fairy tales, magic tales, ghosts, vampires, hell, the devil and the darkness of night (8 - ADVENTUROUS, DANGEROUS ROMANTICISM (Interest in Dionysian and exciting ideas, tales and adventures (Lord Byron's (1788-1824) Childe Harold's Pilgrimage and Don Juan captured the imagination of the romantics. (Almost autobiographical, Childe Harold was an inveterate traveler, while Don Juan was a handsome, adventurous libertine. The term "Byronesque" describes an attitude of wild adventurousness and sexual license -- and what licenses the fornicating, adulterous, sodomizing, incestuous, bisexual and brilliant Lord Byron took! (9 - FLAMBOYANT, VIRTUASIC ROMANTICISM (Display for its own sake (The age of the virtuoso player, singer and orchestra (10 - HUGE, EPIC ROMANTICISM (Larger than life, epic, titanic ideas and structures - musical, literary and architectural (11 - SENTIMENTAL, POIGNANT, LONGING ROMANTICISM (Deeply sentimental, nostalgic introspection (An unwillingness to let go of the past, including romantic musical practices (Sentimentality reached its literary height (or, if you will, depth) in Charles Dickens's (1812-1870) The Old Curiosity Shop. The pathetic orphan, Little Nell, died just days before she would have been rescued from poverty. Her grandfather died weeping at her grave a few days later. (Musically, nothing equals Gustave Mahler's (1860-1911) "Adagietto" from his Symphony No. 5 for sheer poignance and longing. If you want tears at a memorial service, this is the piece for you! (12 - NECROROMANTICISM (Fascination with death, dying and ruins -- even china patterns portrayed ruins and desolation (William Blake's (1757-1827) Death on a Pale Horse, Edgar Allan Poe's (1809-1849) The Murders in the Rue Morgue, Frederic Chopin's (1810-1849) Funeral March, Franz Liszt's (1811-1886) Totentanz (Sergei Rachmaninoff's (1873-1943) The Isle of the Dead (1909) all reflect the 19th-century fascination with death. (It is no accident that the four most often performed "Requiems", those of Hector Berlioz (1803-1869), Giuseppe Verdi (1813-1901), Johannes Brahms (1833-1897) and Gabriel Faure (1845-1924), all stem from this preoccupation. (13 - EROTIC ROMANTICISM (Hyper-romantic interest in strong emotions, including fairly explicit physical love (From the sensuous passions of Emily Bronte's (1818-1848) Wuthering Heights, Gustave Flaubert's (1821-1880) Madame Bovary and Victorien Sardou's (1831-1908) La Tosca to the erotic visions of Francisco de Goya's (1746-1828) Nude Maja, Jean-Auguste Ingres's (1780-1867) Odalisque and Auguste Rodin's (1840-1917) Eternal Springtime and The Kiss, the 19th century virtually seethed with eroticism. (The sensuous love music of Tristan und Isolde was quite appropriate from the pen of Richard Wagner (1813-1883), son-in-law of that famous sexual athlete, Franz Liszt (1811-1886). (14 - REALISTIC ROMANTICISM (Almost an anti-romantic interest in portraying the social problems of the common man that stemmed from the Industrial Revolution and the movement of masses of the population from rural areas to cities (Giacomo Puccini (1858-1924) was a pioneer in an opera style known as "verismo" or "true-to-life". (After all, some American soldiers did get Japanese girls pregnant, promised to return after the war and then ended up marrying the American girl next door -- i.e. Madame Butterfly. (15 - CLASSICAL CONSERVATIVE ROMANTICISM (A sense of devotion to craftsmanship that existed in the 18th century (A renewed interest in the Classical ideals of symmetry, balance and proportion -- especially in the more standard treatment of Classical sonata form by Felix Mendelssohn (1804-1847) and Johannes Brahms (1833-1897) (There was also a renewed interest in the subjects of classical Greece, seen superlatively in Jean-Auguste Ingres's (1780-1867) The Apotheosis of Homer, Jupiter and Thetis and Oedipus and the Sphinx as well as in John Keats's (1795-1821) brilliant On First Looking into Chapman's Homer and Endymion. (16 - IMPRESSIONISM (A clean break with prevailing tonal practices in music and representational realism in art. (Claude Debussy & Maurice Ravel. (17 - POST IMPRESSIONISM (A reaction to the Impressionistic subduing of articulation and meter in music and the subduing of articulation and color in art (-------- (PETER ILYICH TCHAIKOVSKY 1840-1893 (p. 185) (the greatest (and most "Western") of all 19th-century Russian composers (the paradigm neurotic artist (-- he found out that marriage was NOT a way to cure homosexuality (typical Russian passion and overt, heart-on-sleeve sentimentality (NOT a specialist, Tchaikovsky was the only Romantic composer after (Beethoven to write successfully in all the genres (-- his 4th, 5th and 6th Symphonies, 1st Piano Concerto, Violin (Concerto and 1812 Overture are enormously popular ((is any concert in the park complete without the 1812 Overture (and fireworks?) (perhaps his greatest contribution was making the ballet into a major (Romantic genre (with his Swan Lake, Sleeping Beauty and Nutcracker his ballets (proved him to be the master of the symphonic waltz ((fully the equal of the "Waltz King", Johann Strauss Jr.) (the greatest master of symphonic form of all the 19th-century (Russians brilliantly, even flamboyantly colorful orchestrations (-- he loved the sound of unmixed colors ((i.e. brass alone vs. woodwinds alone, etc.) (one of the greatest melodists of all time (-- the slow movement of Symphony No. 5 is as gorgeous as anything (in musical literature (Listening: (Tchaikovsky: (1812 Overture (Theme 1 - Church Hymn (Theme 2 - Russian Folk Song (Theme 3 - March (Theme 4 (Theme 5 - "La Marseillaise" (Theme 6 - Lullaby (Theme 7 - Russian Folk Dance ([Long transition] (Theme 8 - Czar's Hymn ( (wrote the first treatise on orchestration ((the two other famous orchestration treatises were by Nikolai Rimsky-Korsakov and Richard Strauss) (wrote the first program symphony (the Symphonie fantastique) (-- a program symphony is one that tells a story (-- the Symphonie fantastique is autobiographical (his great contribution to form was the idee fixe (-- a melody that recurs in every movement (created the modern large symphony orchestra we take for (granted (-- his ideal orchestra had 467 players accompanied by (a chorus of 360! (Listening: p. 187 (Berlioz: (Symphonie Fantastique, V (Dream of a Witch's Sabbath (ide fixe (thematic transformation (Example 25; CD 2/32