David Lemmink

Listen to the Music

Erik Paffet
5/7/15

The Classical era of music is defined by its logical and symmetrical structure.
Symphonies were built upon the sonata form, and musicians were the paid workers of the
aristocratic elite. The 18th century ended, and with it, came a dramatic turn in the music scene.
The revolutions of the early 19th century served as the catalyst for a Romantic movement that
redefined the role of music and composers in society and ushered in an age of musical education
on a scale never before seen.
Silence is not what we artists wantWe want applause, said Beethoven, one of the
Romantic eras greatest composers. It may seem odd nowadays to think of a noisy music hall, but
its what the composers wanted to hear. In fact, the silence was seen as a sign of audience distaste
in the music. Even stranger yet, playing too loud would upset the crowd. Take a performance by
Aleander Dreyschock for example. He played piano so loud it made it difficult for people to
talk. What an odd contrast with todays audience/performer interaction, where noise during a
performance is seen as a rude gesture from the crowd [Holland, NYTimes.com]. The only
remnant of this kind of behavior in todays society can be found at social gatherings like
receptions or clubs, where music is played to serve only as background to the goings-on. This
sort of music is analogous to the parlor scene of the Romantic era. Musicians would play short
songs, ranging from love ballads to orchestral transcripts, generally to entertain a crowd. It
wasnt the center of focus per say, but a way to provide ambience [Dobney, metmuseum.org].

The parlor scene itself is an innovative part of the Romantic era. Music had been
performed by quartets in residence before, but parlors were not solely for performance of music
by professionals anymore. Home life of the middle and upper class revolved around the parlor,
and it ushered in music education. Children were the primary benefactors of this change, as they
were taught to play instruments, such as the harp, guitar, and most commonly piano. When
guests were invited over, the children would perform the latest popular work for them. Girls in
particular were taught to play. Incredibly, more emphasis was placed on learning an instrument
than reading. While that does contrast with todays norms, this idea of music education at home
and the parlor scene lingers on two centuries later [Dobney].
Further audience/performer interaction changed with the rise of the music critic. Early in
the romantic era (and classical era), critics themselves identified as practicing musicians, though
this association with practice dissipated as the century progressed [Foss, Britannica.com]. This
change can be attributed to a shift from an objective criticism, one that focused on the technical
aspects, to one that paid closer attention to the aesthetics of a piece. Keeping in mind that
symphonic poems and similar pieces by the likes of Berlioz were increasingly common in the
Romantic era, this adjustment of criticism makes sense. Moreover, the father of modern musical
criticism [Walker, Britannica.com], Eduard Hanslick, hails from this time, though his approach
to critiquing a work was against the grain, often putting him at odds with fellow critics. His
approach was highly conservative, and he downplayed the importance of emotionality in music
[Various, Britannica.com]. Robert Schuman, also a highly influential critic of the time as well as
a composer, spearheaded a different critical approach with his magazine, Neue Zeischrift fuer
Musik. The approach was highly dissimilar to Hanslicks own, and epitomized the Romantic
ideas of the time [Unknown, Classical.net].

One of the most dramatic changes one can see in the Romantic era while comparing it to
the Classical era is the position of the musician in society. Aristocratic patronage declined
sharply in the romantic era. This meant the artist was no longer bound to a patron and could
express himself through music he wrote. Beethoven was, in fact, the first composer to not be
subsidized by a church or aristocrat and live on his earned money. The cause for such a change
was the increasingly large bourgeois audience that could not afford a composer like Haydn. They
bought tickets for concerts instead, and this was a sizeable chunk of Beethovens revenue
[Brians, public.wsu.edu]. Ties to the church also decreased, as it was no longer considered a
music patron. Thus, little music with liturgical purposes was written during the Romantic era.
The most important change, however, is the establishment of teaching music as a profession
Several of the most prominent figures in Romantic music, such as Mendelssohn and Brahms,
were recognized for their work as teachers of music. Conservatories and music schools increased
dramatically, and by the end of the century, research in music theory and history was introduced
into universities [Kauble, kaublepianostudio.com]. It was through this teaching that Beethoven
earned the rest of his money, and with it he was able to maintain a humble living standard and
autonomy from aristocratic patronage [Brians].
The creation of the middle class was an essential byproduct of the Industrial Revolution.
Composers in the 18th century wrote for aristocrats and patrons, but this changed with the
technological innovations that came with the turn of the century. A middle class formed. This
bourgeois demographic had more leisure time than ever before, but more importantly, they had
expendable income. Musicians latched onto the middle class, with Beethoven setting a precedent
for future composers by writing symphonies that would introduce the middle class to his catalog.
Aristocratic patrons were no longer a requirement to write music. Others soon followed, and they

wrote increasingly bombastic works to appeal to this audience. Larger orchestras were
incorporated. The technical prowess and technique of musicians reached new heights.[Dobney].
The Industrial Revolution may have been responsible for incorporating a new people into
the music scene, but the French Revolution was responsible for incorporating a new spirit into it.
From this spirit, composers became spokesmen of politics and economics (not unlike the
Woodstock hippies a century later). They infused their music with nationalist sentiments.
Integration of their countrys folk songs and dances was common, especially in program music
and operas of the time [Estrella, musiced.about.com]. Frederic Chopin was perhaps the greatest
example of a Romantic composer with a nationalist spirit. His music exhibited characteristics of
Polish folk traditions and pluralistic nationalism [Greenan, richardgreenan.com].
In conclusion, the Romantic era is defined by target demographic shifts, and thematic
elements that focused on emotion and nationalism. The musician also saw a freeing up of
creative choice and their becoming of superstars in the 19th century whilst crowds applauded
them from start to finish. It also introduced musical education to the educational system, which
nurtured the development of composers of the Romantic era and continues to do so today.

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