(4TH YEAR)
- transitional composer both classical and romantic character
- adherence to traditional abstract forms to extraordinary aptitude for music
- predominantly homophonic in texture with intersting innovations in
harmonic progression
MENDELSSOHN (German, 1809-1847)
- conductor, teacher, performer
- light, fanciful scherzo passages with emphasis on woodwind instruments
- grew up in a priveleged family
CHOPIN (Polish, 1810-1849)
- musical innovator and romantic nationalist
- great piano composer
- more on polonaise and maznika
SCHUMANN (German, 1810-1856)
- composer, performer, crictic
- gives vivid evidence of predisposition towards extreme elation
to suicidal depression
USZT (1811-1886)
- most typical and influential composer of the romantic period
- child prodigy
- piano performer to the virtuoso level
- transformation of tradition
WAGNER (German, 1813-1883)
- struggled against the timidity of the 19th century public to gain understanding
and appreciation of his music
- textural element, one of the most striking characteristic of Wagner's music
- skill in polyphonic writing
VERDI (Italian, 1813-1901)
- tradition of Italian opera
- more traditional and conervative
- Rizolleto, La, Traviata, Aida, Macbeth
BRAHMS (German, 1833-1897)
- contribution of classical and romantic traits
- emphases on traditional forms and its avoidness of programmatic contest
- emphasis on subjective expression
TCHAIKOWSKY (Russian, 1840-1893)
- swan lake
- music is cosmopolitan
- Nutcracker, Sleeping Beauty
- works for piano, chamber music combinations and voice and piano
