Editing Romantic music (section)

==Genres==
===Symphony===
{{Main|Symphony}}
Carried to the highest degree by [[Ludwig van Beethoven]], the symphony becomes the most prestigious form to which many composers devote themselves. The most conservative respect to the Beethovenian model includes composers such as [[Franz Schubert]], [[Felix Mendelssohn]], [[Robert Schumann]], [[Camille Saint-Saëns]], and [[Johannes Brahms]]. Others show an imagination that makes them go beyond this framework, in form or in the spirit: the most daring of them being [[Hector Berlioz]].

Finally, some will also tell a story throughout their symphonies; like [[Franz Liszt]], they will create the [[symphonic poem]], a new musical genre, usually composed of a single movement and inspired by a theme, character or literary text. Since the symphonic poem is articulated around a [[leitmotiv]] (musical motif to identify a character, the hero for example), it is to be compared to music with a symphonic program.

===Lied===
{{Main|Lied}}
This musical genre appeared with the evolution from [[pianoforte]] to [[piano]] during the romantic period. The [[lied]] is vocal music most often accompanied by this instrument. The singing is taken from romantic poems and this style makes it possible to bring the voice as close to feelings as possible. One of the first and most famous lieder composers is [[Franz Schubert]], with [[Erlkönig (Schubert)|Erlkönig]], however, many other romantic composers have devoted themselves to the lied genre such as [[Saint-Saëns]], [[Duparc]], [[Robert Schumann]], [[Johannes Brahms]], [[Hugo Wolf]], [[Gustav Mahler]], and [[Richard Strauss]].

===Concerto===
{{Main|Concerto}}
It is [[Beethoven]] who inaugurates the romantic concerto, with his five piano concertos (especially the [[Piano Concerto No. 5 (Beethoven)|fifth]]) and his [[Violin Concerto (Beethoven)|violin concerto]] where many characteristics of [[classicism]] can still be recognized. His example is followed by many composers: the concerto rivals the symphony in the repertoire of major [[Orchestra|orchestral formations]].

Finally, the concerto will allow instrumentalist composers to reveal their virtuosity, such as [[Niccolò Paganini]] on the violin, and [[Frédéric Chopin]], [[Robert Schumann]], and [[Franz Liszt]] on the piano.
===Rhapsody===
{{Main|Rhapsody (music)}}
A rhapsody in music is a one-movement work that is episodic yet integrated, free-flowing in structure, featuring a range of highly contrasted moods, colour, and tonality. An air of spontaneous inspiration and a sense of improvisation make it freer in form than a set of variations.

===Nocturne===
{{Main|Nocturne}}
[[File:Frederic Chopin photo.jpeg|thumb|Daguerreotype of Chopin, {{circa|1849}}]]
The [[nocturne]] is presented as a short-lived confidential piece, which the Irish composer [[John Field (composer)|John Field]] was one of the first to cultivate. Immersed in the climate of the night, an atmosphere privileged by romantics, it is often of ABA structure, with a very flexible and ornate [[melody]], accompanied by a left hand with undulating [[arpeggios]]. The [[tempo]] is usually slow, and the central part is often more agitated.

[[Frédéric Chopin]] has set the most famous form of the nocturnes. He wrote 21, from 1827 to 1846. First published in series of three (opus 9 and 15), they are then grouped in pairs (opus 27, 32, 37, 48, 55, 62).

===Ballet===
{{Main|Romantic ballet}}
The [[Romantic ballet]] was developed throughout the 19th century, especially by composers such as [[Pyotr Ilyich Tchaikovsky]] in Russia and [[Léo Delibes]] in France.

===Opera===
{{Main|Opera}}

====France====
{{Main|French opera}}
[[File:Georges bizet.jpg|thumb|upright|Bizet photographed by [[Étienne Carjat]] (1875)]]
During the 19th century, romanticism took a hold of opera and it was [[Paris]] that became one of its main centers. Most romantic operas were composed by composers living in France, such as [[Luigi Cherubini]], [[Gaspare Spontini]], [[François-Adrien Boieldieu]], and [[Daniel-François-Esprit Auber]]. The apogee of the style of great operas is marked by the works of [[Giacomo Meyerbeer]]. [[Hector Berlioz]]'s [[Les Troyens]] was first ignored, [[Benvenuto Cellini]] is consputed during the premiere, while [[Charles Gounod]]'s [[Faust (opera)|Faust]] is one of the most popular French operas of the mid-19th century.

During the second part of the 19th century, [[Georges Bizet]] will revolutionize opera with Carmen: "local color based on the use of Spanish songs and dances" according to Nietzsche, it is "a ray of Mediterranean light dissipating the fog of the Wagnerian ideal". Interest in "local color" works is confirmed with [[Lakmé]] by [[Léo Delibes]], and [[Samson and Delilah (opera)|Samson and Dalila]] by [[Camille Saint-Saëns]]. The most productive French composer of operas of the last part of the century was [[Jules Massenet]] composing works such as [[Manon]], [[Werther]], and [[Thaïs (opera)|Thaïs]].

[[Jacques Offenbach]], who composed [[Les Contes d'Hoffmann]], established himself as the master of French opera-comique of the 19th century, inventing a new genre, the French opéra bouffe, which later was confused with the operetta.

At the beginning of the 20th century, romanticism in France was gradually abandoned in favor of other currents such as [[Impressionism in music|Impressionism]] or [[Symbolism (arts)|symbolism]], carried in particular by [[Claude Debussy]]'s ''[[Pelléas and Mélisande]]'' (1902).

====Germany====
{{Main|Opera in German}}
[[Carl Maria von Weber]], with [[Der Freischütz]] (1821) creates the first German romantic opera; the first important opera being [[Beethoven]]'s [[Fidelio]] (1805), the only operatic work of this composer.

[[Richard Wagner]], from the [[Der fliegende Holländer]], introduces the [[leitmotiv]] and the "cyclical melody" process. He revolutionizes opera by duration and instrumental power. His major work, [[Tetralogy]] is one of the summits of German opera. He creates the "musical drama" in which the orchestra now becomes the protagonist in the same way as the characters. In 1876, the [[Bayreuth Festival]] was created dedicated to the exclusive representation of Wagner's works.

Wagner's influence continues in virtually all operas, even in [[Hansel and Gretel (opera)|Hänsel und Gretel]] by [[Engelbert Humperdinck (composer)|Engelbert Humperdinck]]. The dominant figure is then [[Richard Strauss]], who uses orchestration and vocal techniques similar to those of Wagner in ''[[Salome (opera)|Salome]]'' and ''[[Elektra (opera)|Elektra]]'' while developing his own path. ''[[Der Rosenkavalier]]'' is the work of Strauss that had the most flamboyant success at the time.

====Italy====
{{Main|Italian opera}}
[[File:Verdi by Giovanni Boldini.jpg|thumb|upright|The iconic<ref>{{cite news|url=http://roma.corriere.it/notizie/cultura_e_spettacoli/17_marzo_03/giovanni-boldini-160-opere-mostra-vittoriano-e698ed70-003e-11e7-92b1-e1f58b14debd.shtml|title=Giovanni Boldini, 160 opere in mostra al Vittoriano|newspaper=[[Corriere della Sera]]|date=26 March 2017|access-date=31 July 2023|language=it}}</ref> ''[[Portrait of Giuseppe Verdi]]'' (1886) by [[Giovanni Boldini]]]]
Italian romanticism begins with [[Gioachino Rossini]] who composed works such as [[The Barber of Seville]] and [[La Cenerentola]]. He created the "[[bel canto]]" style, a style adopted by his contemporaries [[Vincenzo Bellini]]  and [[Gaetano Donizetti]].

However, the face of Italian opera is [[Giuseppe Verdi]] whose [[Nabucco]]'s slave choir is a very important hymn to all of Italy. The trilogy formed by [[Rigoletto]], [[Il trovatore]] and [[La traviata]] are among his major works but he reaches the peak of his art with [[Otello]] and [[Falstaff (opera)|Falstaff]] at the end of his career. He has infuled his works with unparalleled dramatic vigour and rhythmic vitality.

In the second part of the 19th century, [[Giacomo Puccini]], Verdi's undisputed successor, transcends [[Realism (arts)|realism]] into [[verism]]. [[La Bohème]], [[Tosca]], [[Madame Butterfly]], and [[Turandot]] are melodic operas loaded with emotion.

====Other countries====

Other works of national inspiration:

* In [[Russia]], a national school is developing with [[Mikhail Glinka]] who composed [[A Life for the Tsar]], [[Ruslan and Ludmila]]. Other great Russian works: [[Sadko]] by [[Nikolai Rimsky-Korsakov]], [[Prince Igor]] by [[Alexander Borodin]], [[Boris Godunov]] by [[Modest Mussorgsky]], [[Eugene Onegin (opera)|Eugene Onegin]] and [[The Queen of Spades (opera)|The Queen of Spades]] by [[Pyotr Ilich Tchaikovsky]].
* In the [[Czech Republic]], the national spirit is embodied by [[The Bartered Bride]] of [[Bedřich Smetana]], [[Rusalka]] of [[Antonín Dvořák]], [[Šárka (Fibich)|Šárka]] of [[Zdeněk Fibich]], and [[Jenůfa]] of [[Leoš Janáček]].
* In [[Great Britain]], [[Michael William Balfe]], who composed [[The Bohemian Girl]], the British romantic opera par excellence. He also composes for the French scene.