Editing Romanticism (section)

=== Evolution of the term in musicology ===
[[File:Joseph Karl Stieler's Beethoven mit dem Manuskript der Missa solemnis.jpg|thumb|upright|[[Ludwig van Beethoven]], 1820]]
Although the term "Romanticism" when applied to music has come to imply the period roughly from 1800 until 1850, or else until around 1900, the contemporary application of "romantic" to music did not coincide with this modern interpretation. Indeed, one of the earliest sustained applications of the term to music occurs in 1789, in the ''Mémoires'' of [[André Grétry]].<ref>Grétre 1789.</ref> This is of particular interest because it is a French source on a subject mainly dominated by Germans, but also because it explicitly acknowledges its debt to [[Jean-Jacques Rousseau]] (himself a composer, amongst other things) and, by so doing, establishes a link to one of the major influences on the Romantic movement generally.<ref name="Samson 2001">Samson 2001.</ref> In 1810 [[E. T. A. Hoffmann]] named [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], and [[Ludwig van Beethoven|Beethoven]] as "the three masters of instrumental compositions" who "breathe one and the same romantic spirit". He justified his view on the basis of these composers' depth of evocative expression and their marked individuality. In Haydn's music, according to Hoffmann, "a child-like, serene disposition prevails", while Mozart (in the late [[Symphony No. 39 (Mozart)|E-flat major Symphony]], for example) "leads us into the depths of the spiritual world", with elements of fear, love, and sorrow, "a presentiment of the infinite ... in the eternal dance of the spheres". Beethoven's music, on the other hand, conveys a sense of "the monstrous and immeasurable", with the pain of an endless longing that "will burst our breasts in a fully coherent concord of all the passions".<ref>Hoffmann 1810, col. 632.</ref> This elevation in the valuation of pure emotion resulted in the promotion of music from the subordinate position it had held in relation to the verbal and plastic arts during the Enlightenment. Because music was considered to be free of the constraints of reason, imagery, or any other precise concept, it came to be regarded, first in the writings of [[Wilhelm Heinrich Wackenroder|Wackenroder]] and [[Ludwig Tieck|Tieck]] and later by writers such as [[Friedrich Wilhelm Joseph Schelling|Schelling]] and [[Richard Wagner|Wagner]], as preeminent among the arts, the one best able to express the secrets of the universe, to evoke the spirit world, infinity, and the absolute.<ref>Boyer 1961, 585–86.</ref>

This chronologic agreement of musical and literary Romanticism continued as far as the middle of the 19th century, when [[Richard Wagner]] denigrated the music of [[Giacomo Meyerbeer|Meyerbeer]] and [[Hector Berlioz|Berlioz]] as "[[Neoromanticism (music)|neoromantic]]": "The Opera, to which we shall now return, has swallowed down the Neoromanticism of Berlioz, too, as a plump, fine-flavoured oyster, whose digestion has conferred on it anew a brisk and well-to-do appearance."<ref>Wagner 1995, 77.</ref>[[File:Eugène Ferdinand Victor Delacroix 043.jpg|thumb|upright|left|[[Frédéric Chopin]] in 1838 by [[Eugène Delacroix]]]]

It was only toward the end of the 19th century that the newly emergent discipline of ''Musikwissenschaft'' ([[musicology]])—itself a product of the historicizing proclivity of the age—attempted a more scientific [[periodization]] of music history, and a distinction between [[Classical period (music)|Viennese Classical]] and Romantic periods was proposed. The key figure in this trend was [[Guido Adler]], who viewed Beethoven and [[Franz Schubert]] as transitional but essentially Classical composers, with Romanticism achieving full maturity only in the post-Beethoven generation of Frédéric Chopin, Felix Mendelssohn, [[Robert Schumann]], Hector Berlioz and [[Franz Liszt]]. From Adler's viewpoint, found in books like ''Der Stil in der Musik'' (1911), composers of the [[New German School]] and various late-19th-century [[Musical nationalism|nationalist]] composers were not Romantics but "moderns" or "realists" (by analogy with the fields of painting and literature), and this schema remained prevalent through the first decades of the 20th century.<ref name="Samson 2001"/>

By the second quarter of the 20th century, an awareness that radical changes in musical syntax had occurred during the early 1900s caused another shift in historical viewpoint, and the change of century came to be seen as marking a decisive break with the musical past. This in turn led historians such as [[Alfred Einstein]]<ref>Einstein 1947.</ref> to extend the musical "[[Romantic music|Romantic era]]" throughout the 19th century and into the first decade of the 20th. It has continued to be referred to as such in some of the standard music references such as ''[[The Oxford Companion to Music]]''<ref>Warrack 2002.</ref> and [[Donald Jay Grout|Grout]]'s ''History of Western Music''<ref>Grout 1960, 492.</ref> but was not unchallenged. For example, the prominent German musicologist [[Friedrich Blume]], the chief editor of the first edition of ''[[Die Musik in Geschichte und Gegenwart]]'' (1949–86), accepted the earlier position that Classicism and Romanticism together constitute a single period beginning in the middle of the 18th century, but at the same time held that it continued into the 20th century, including such pre-World War II developments as [[Expressionist music|expressionism]] and [[Neoclassicism (music)|neoclassicism]].<ref>Blume 1970; Samson 2001.</ref> This is reflected in some notable recent reference works such as the ''[[New Grove Dictionary of Music and Musicians]]''<ref name="Samson 2001"/> and the new edition of ''[[Musik in Geschichte und Gegenwart]]''.<ref>Wehnert 1998.</ref>

<gallery widths="160" heights="160">
File:Mendelssohn Bartholdy.jpg|[[Felix Mendelssohn]], 1839
File:Robert Schumann 1839.jpg|[[Robert Schumann]], 1839
File:Barabas-liszt.jpg|[[Franz Liszt]], 1847
File:Postcard-1910 Daniel Fransois Auber.jpg|[[Daniel Auber]], {{circa|1868}}
File:Hector Berlioz.jpg|[[Hector Berlioz]] by [[Gustave Courbet]], 1850
File:Giuseppe Verdi by Giovanni Boldini.jpg|[[Giovanni Boldini]], ''Portrait of [[Giuseppe Verdi]]'', 1886
File:Richardwagner1.jpg|[[Richard Wagner]], {{circa|1870s}}
File:Gustav Mahler 1896.jpg|[[Gustav Mahler]], 1896
</gallery>