In order to withstand the virtuosic and often bombastic playing of these soloists, as well as to provide the type of volume needed in large concert venues, more powerful instruments were needed. Their fame grew throughout Europe, and their likenesses would be recorded in a variety of visual arts. Both dazzled audiences throughout Europe with their performances, elevating the status of the musician from servant to demigod. The two most famous nineteenth-century examples were the violinist Nicolò Paganini (1782–1840) and the pianist Franz Liszt (1811–1886). Musicians who could dazzle and amaze their audiences by their virtuosity became the first musical superstars. Composers such as Hector Berlioz, and later Johannes Brahms and Richard Wagner, continually pushed the limits of the available musical forms, performers, instruments, and performance spaces throughout the nineteenth century. New types of orchestral winds ( 2003.150a–g) and brass ( 2002.190a–n) that allowed for greater facility and more accurate playing were introduced.
#DIFFERENT TYPES OF MUSICAL COMPOSITIONS FULL#
Orchestras grew, including larger string sections with a full complement of woodwinds, brass, and ever more percussion instruments.
The “bigger is better” mentality led to new musical forms such as the tone poem and large-scale symphonic and operatic works. As audiences desired more, composers wrote larger musical works and demanded more of performers and their instruments. Beginning with Beethoven, composers began to arrange large concerts in order to introduce their works to the public. Musical extravaganzas that triumphed the musician or composer gained popularity with the masses of concertgoers. This new economic strata consisted of a larger number of people with more disposable income and more leisure time than had ever existed before. One result of the Industrial Revolution was the creation of a middle class.
In music, Romanticism, along with new opportunities for earning a livelihood as a musician or composer, produced two seemingly opposite venues as the primary places for musical activity-the large theater and the parlor. Romantics valued the natural world, idealized the life of the common man, rebelled against social conventions, and stressed the importance of the emotional in art. With the rise of the middle class, more people wanted access to music performances and music education.Ī new artistic aesthetic, Romanticism, replaced the ideals of order, symmetry, and form espoused by the classicists of the late eighteenth century. Composers wrote music for performances in these venues, and musical instrument makers produced instruments to be played by wealthy patrons or their servant musicians. In earlier times, musicians were usually employed by either the church or the court and were merely servants to aristocratic circles. The lives of musicians, composers, and makers of musical instruments were greatly altered by these social changes. From New York, to London, to Vienna, the world was changing and the consequences can still be felt to this day. Struggles between the old world order and the new were the root causes of conflicts from the Napoleonic Wars to the American Civil War. Democratic ideals and the Industrial Revolution swept through Europe and changed the daily lives of citizens at all levels. The nineteenth century brought great upheaval to Western societies.
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