Your answered, that's what you said. Now let me talk about some of my views.

1. The development and characteristics of The Romantic Period symphony

Early Romance: 18 10~ 1830 Mid Romance: 1830~ 1850 Romance imitates classicism: three stages, usually starting with Schubert. Although Schubert's music still has a strong legacy of Vienna Classical Music School, it is also full of smallness, tenderness, sudden temptation, excitement and almost illusory happiness. It was the first intoxicating romantic atmosphere after classicism, so everyone used to call him "classical romanticism". Weber is also a representative figure of romanticism. Influenced by Beethoven and Mozart, these two composers especially showed the delicate side of romantic style.

The representatives in the middle period were Mendelssohn and Schumann, who both conveyed the spirit of this romantic era, inherited Beethoven's purity and absoluteness, and developed beautiful symphonies. In Brahms, the essence of romance is more precise and concentrated. For example, in Schubert's works, "romantic pain" is only reflected in emotion, but in Brahms it is already a sensory pain.

Berlioz and Liszt, on the other hand, selectively understood the inspiration described in Beethoven's title and developed rich symphonic poems. "Nature" has a deep influence on The Romantic Period, even symphonies that always attach importance to formal beauty are no exception. They are sometimes direct (such as Mendelssohn's Scottish and Italian Symphony) and sometimes abstract (such as Schumann's Spring and Rhine Symphony). While emphasizing nature, it also planted seeds for the rise of nationalism in the future.

Brukner and Brahms were the first famous composers to imitate classicism (also called post-romanticism). The two characteristics of brukner's symphonic music are religious sentiment and "organ-like voice". It is mainly because of the excessive feudal conservatism of Austrian Catholicism in the19th century that brukner's comely and lustless symphonic world appeared. His unquestionable belief in doctrine is simply an old farmer who works hard under any circumstances and never complains about his life. This is not to say that he has no contradictions, but that he knows how to bury contradictions in his heart and never emerge.

Wagner had the deepest influence on brukner, especially in harmony and orchestral music, but brukner always used to listen to Wagner's musicals with his eyes closed, and everything on the stage had nothing to do with him. He spiritualized the music of the musical. Although Brahms and brukner live together in Vienna, their feelings are not very harmonious. Brahms comes from a Christian family in northern Germany. His ambivalent temperament cannot be buried deep in his heart. He is afraid that the fire in his heart is burning because it can't be put out. His lonely and restless heart can't be settled, which can be felt from his constant swing, heavy and vague rhythm.

After brukner and Brahms, the only one who can integrate the Vienna Symphony and push it to a climax is Mahler standing on the shoulders of giants. Mahler is at the end of the decadent trend of thought. Conflict, friction (life) and retirement memories (death) of the good old days are the themes that appear alternately in his works. On the one hand, the musical beauty on the edge of tension expresses the ecstasy and pain of the later romance incisively and vividly, and also paves the way for Schoenberg, a new task of modern music.

2. Neo-romantic music

During this period, I didn't listen to much music, but I listened to Barber's flexography and symphony.

Neo-romanticism is a school that appeared in 1970s. Usually this kind of music is tonal, but the tonality at this time is not the same as the harmony, structure and tonality in the period of "sex writing", but the combination of romanticism and modernism. With novel musical language, the overly rational and abstract musical sequence prevailing in 1950s and 1960s was denied, and music began to emphasize emotional expression, use tonality to varying degrees and pay attention to romanticism. This is the new romantic music.

Representative figures and works include: Italian Beriau and his symphonies, American Clem and his universe, summer night music, Barber's flexography for strings, symphonies, Roshberg's symphonies and piano suites, German Henze and his dream of Jacob, etc.

Find some information:

Luciano Berio luciano berio

(1925 was born in Negria, now the British Empire). Italian composer. I studied at Milan College from Ghedini to 195 1, and then I studied sequence skills from Dallapiccola in Tanglewood. 1955, Madeleine and Radio Italia * * * built an electronic music laboratory, which worked until 196 1 year. 1963 went to the United States to teach in California. /kloc-taught at Juilliard in 0/965, and returned to Italy in 197 1. His works are influenced by orderism, electronic technology and random music. He developed collage technology uniquely, borrowing music fragments from other composers or imitating their style characteristics. For example, Symphony (Sinfonia), Beriau selected materials from Mahler's Second Symphony, Wagner's Das Rheingold, Ravel's Waltz, and Strauss's Der Rosenkavalier. In La Britos II, street vendors and interjections mix pastoral and jazz elements. Another collage is recital I (dedicated to Kathy), for his ex-wife, soprano Kathy? One of several works by Cathy Berpeian, such as Epiphany 3》(Sequenza 3. The "sequence" of a series of different instruments is basically the music of opportunity. In the "circle", the singer can sing according to the pitch indicated on the score or similar pitch, which is her choice. When Beriau was young, he was the conductor of a small touring opera troupe in Milan. Therefore, he has always had a passion for drama music, although his drama works are ingenious so far.

Samuel barber Barber, Samuel

(19 10 was born in Westchester, Pennsylvania; 198 1 died in new york). American composer. Playing the piano at the age of 6 and composing music at the age of 7. 14 years old, as the first batch of special students to enter Curtis College in Philadelphia. 1925-34 Learn composition from Scalero, 1926-3 1 Learn piano from Isabel Wengirova, 1926-30 Learn vocal music from Emilio de Gogoll. After 1928 met gian carlo menotti, their friendship was lasting and fruitful. From 65438 to 0933, his works began to be performed in public, the most famous being Arnold's poem Dover Beach (in which he sang baritone part) and his cello sonata (in which he played piano part). 1935 won the Pulitzer Prize, and 1936 won the American Academy Rome Prize. In the same year, he conducted Molinari's SymphonyNo. 1 which premiered in Rome. Toscanini conducted Barber's Adagio for Strings (originally a slow movement of a string quartet) and his first orchestral essay in 1938. In the following years, his works were premiered by Walter, serge koussevitzky, Leinsdorf, Mitropoulos, Ormandi and Meta in new york, Boston and Philadelphia. His four-act opera Antony and Cleopatra, written by Taiwan Province writer Zeffirelli, was written by the New metropolitan opera of new york Lincoln Center for the opening ceremony in September. 1966.

Barber's music has a traditional European style and is not particularly "American". The music language is conservative, full of melody, elegant and gorgeous. His lyricism can be clearly heard in Vanessa and Soprano and Orchestra Knoxville: 19 15 Summer, while his romanticism is fully demonstrated in Dover Beach, Cello Sonata and 6544. His piano sonata, premiered by Holovics, is a brilliant and dazzling work. Several operas received a cold response at first, but the attitude of the audience gradually changed, and the concertos and songs were excellent.

George georg krenn Cramer

(Born in Charlestown, West Virginia, 1929). American composer. 1959-64 teaches piano and composition at the University of Colorado in Boulder. 65438-0965 taught in the Music Department of the University of Pennsylvania, and 65438-0983 became a professor of humanities in the university. Music is very personal. Influenced by Wilbur in the early days, he became interested in new acoustics, and adopted the composition techniques of fragmentation and opportunism, but he did not pursue abnormal effects, and his ideas were still clear and easy to understand. For example, 1972 uses a set of fantasia "Makrokosmos" to amplify the piano, in which many special piano techniques are not used, and the effect is very poetic.

George Rocheberg

(19 18 was born in Paterson, New Jersey). American composer. 1939-42 studied composition with manis and Searle in new york manis Conservatory of Music; He studied in Scalero from 65438 to 0945. 1948-54 as a teacher of Curtis Institute; 196 1-68 is the head of the music department of the University of Pennsylvania, and 1968 is a music professor. Influenced by Mahler and Schoenberg, his music developed into a unique sequential style, but later returned to tonality. I have written many review articles.

Hans Werner, Henze, Hans Werner Henze

(Born in guetersloh, westfalen, 1926). German composer and conductor. 1942-44 studied at the Brunswick National Conservatory of Music, and 1946 studied at Heidelberg. 1946-48 studying in Fortner private school; From 65438 to 0948, he studied Schoenberg's twelve-tone system with Leibowitz in darmstadt. From 65438 to 0950, he was the music director of the ballet of the Heisen National Opera House in Wiesbaden. 1953 settled in Italy. In the mid-1960s, he went to the extreme left politically, and many works since then reflected his radical ideals and beliefs. The music style is changeable and dazzling, which shows his rich imagination and unconventional personality. He is not only a German composer, but also a French and Italian composer. Schoenberg, Stravinsky or the style of opportunity music are all handy for him. The main feature of creation is lyrical and full of aesthetic feeling. With rich and delicate timbre and skillful chorus writing skills.

There is an article about Rocheberg in the computer (the collision and fusion of various musical styles

Rocheberg piano suite-carnival music, no.4. Analyze "sfumato")

I can send it to you if necessary.

The Planetary Suite is a masterpiece, divided into seven movements, named after seven of the nine planets (except the earth and Pluto, which was unknown to humans at that time). Moreover, the band organization is extremely large, using wind instruments such as bass flute, bass oboe, bass clarinet, bass bassoon and alto tuba, as well as organ and numerous percussion instruments, and finally there is a six-part female chorus (sometimes replaced by two solo flutes). The combination of so many musical instruments has produced rich acoustic colors. For example, in a piece of music in the movement of Mars, the whole performance of the band showed the momentum of the earthquake. However, perhaps because the Planetary Suite itself and its band are too large, this work is rarely played completely, but usually only three or five movements, and sometimes a single movement is played.

As far as the meaning of the Planetary Suite is concerned, it has nothing to do with astronomy, but is based on astrology familiar to ancient Chaldeans, China, Egyptians and Persians. In this regard, holst told reporters when the song 1920 premiered: "These songs were inspired by the astrological significance of the planets. They are not title music and have nothing to do with the immortals of the same name in ancient mythology. If you need any music guidance, then, especially in a broad sense, the subtitle of each song is enough to explain the problem. For example, Jupiter brings what is usually called joy, as well as ritual joy related to religious or national celebrations; Saturn brings not only the decline of the body, but also the realization of ideals; Mercury is a symbol of the soul. "

The first movement Mars-the messenger of war

Holst finished this piece of music on the eve of the outbreak of World War I 19 14 in August, so some people think that this piece of music by the composer is a prediction of the upcoming war at that time. Indeed, the music of this movement, especially the arrogant and passionate performance of percussion instruments and chord instruments, gives people an aggressive sense of urgency, suggesting that the army is marching. The first theme of the movement is repression and provocation, played by bassoon and French horn.

At the beginning of the music, with the scream of the first theme, the unique weak (P) rhythm is gradually strengthened. When it reaches the ultimate strength (fff), a second theme with a movement is generated on the brass instrument. This effect can be summarized as follows: two armies full of pitfalls are close to each other, swords and shadows are everywhere, and when they finally contact, a close battle inevitably breaks out.

As the war continued, the addition of the organ pushed music to a new climax. At this time, the tuba in B and the trumpet in C sounded the marching horn.

However, this is not the horn of victory. With the development of woodwind stringed instruments on the second theme with deep and depressed voices and the brutal and outrageous reappearance of various themes, more thrilling war scenes have been launched.

The second movement Venus-Messenger of Peace

Due to the contrast of the cruel war music in the last movement, this movement is getting quieter and quieter. It reminds people of a paradise without lightning and thunder, far from the noise of war, and everywhere is a scene of peace and happiness. At the beginning of the movement, the French horn presents a rising melody, and the flute and oboe respond with a series of chords.

The development of music is very poetic: the overture on flute and French horn, such as Qiu Chan Ming; A string of chords of two harps seems to be a flowing clean stream; The downward sound pattern of Zhong Qin and the piano is like a gushing spring. In this atmosphere, the solo violin sang a touching love song, and the development of the whole movement was based on this theme.

The third movement mercury flying messenger

It is said that Mercury is the symbol of a winged messenger and the patron saint of thieves. Therefore, the music of this movement is extremely agile and flexible, and it is allegro scherzo. The movement begins with the fast mode and silent instruments on stringed and woodwind instruments, and then the oboe and the English pipe present the light and lively melody of the first theme. It can be said that this is the portrayal of the messenger, who is busy going door to door, bringing the gospel and joy to people.

The melody of the second theme has a folk song style, which shows people singing and dancing to celebrate the arrival of the flying messenger and the information he brought.

The fourth movement Jupiter-the messenger of joy

Compared with other movements, this movement is grand in conception and long in length. The whole movement can be divided into three parts. The first part begins with the broken bow of the violin. Under its guidance, the first theme, generate, showed great enthusiasm, and its joyful momentum was extremely powerful, as if to shake the sky.

Happy emotions are like scenes, one after another, endless. Between these "scenes", there is always a fixed happy music idea, played by a brass instrument, which, like a horn, announces the arrival of new happiness. The second theme of the movement is a singing melody, played by six French horn and chord instruments.

The third theme is dignified folk dance music, which is first played with French horn and then passed between woodwind, string and brass instruments.

After entering the second part, the speed changed from Allegro to Andante, and the music became extraordinarily solemn, full of what holst called "the joy of ceremony". The whole second part consists of a pious ode, which goes on like Kan Kan, reminding people of the hymns sung by the church choir.

The third part returns to Allegro. After the brief reappearance of the three themes once again set off a folk festival-like climax, Cao Le ends with a magnificent short ending.

The fifth movement Saturn-the messenger of the elderly

Saturn is one of the most wonderful chapters in the Planets suite, and it is also a passage that is often played alone. The movement begins with a fixed rhythm and consists of two adjacent sounds played by flute, bassoon and two harps. It symbolizes the evasive, heavy and monotonous gait of the elderly, and it is also a portrayal of the passage of time and the decline of physical strength. In this context, the double bass played a sad motive and gradually developed into the only theme in the movement played by the tenor trombone. As holst clearly pointed out, this theme not only shows "the decline of the body", but also means "the realization of the ideal".

On the basis of this theme, music has developed rich variations. There are deep thoughts and hopes here, as well as the rhythm of funeral marches and the bells of evening prayers, as well as happy memories of the past.

The sixth movement Uranus-Magician

This piece is also a wonderful passage in the "Planet" suite. Holst used modern composing techniques such as changeable tonality and orchestration color, and sudden change of strength, thus achieving a confusing magical effect. Music was originally the motivation of playing brass instruments, and it was the image of a magician-mysterious and hard to guess, scary and ominous.

The main melody of the movement is the staccato melody of the bassoon, which attracts other musical instruments to join the ranks.

On the background of "limping", there are two themes, the former is busy and the latter is cocky.

The music gradually reached its climax, and then suddenly came to an abrupt end, becoming a series of trivial downward modes on piccolo, flute and clarinet. The exciting rhythm of drumming seems to be a magician's new spell, which brings new paragraphs and pushes music to a new climax.

Suddenly, there was a strange sliding sound on the organ, just like a gate blocking the huge sound flow, which made the rhythm low and slow, and the climax turned into several thin long sounds. It was in this disturbing atmosphere that the movement ended.

The seventh movement Neptune-Mystery

The last movement "Neptune" gives people the feeling of being quiet and gentle, but it also shows a mysterious and hazy space scene. The first theme of the movement is constructed with this tone.

Holst used piano, harp and violin arpeggios extensively, and successfully rendered a mysterious and chaotic scene. After the music changed from Andante to Allegro, clarinet presented the second theme very softly with the accompaniment of human voice and stringed instruments.

In order to achieve the desired effect, holst specially noted the arrangement of the chorus in the score: "The chorus should be placed in the room adjacent to the stage, and the door should be kept open until the last paragraph of the whole song, when the door should be closed gently and quietly. The choir, the door, and any assistant conductor that may be needed should be separated from the audience by screens. "

(To be continued)