Chapter 3　The Romantic Period: Free Expression of Emotions
第三章　浪漫主义时期：情感的自由表现

1．The overall characteristics of the romantic music　浪漫主义时期音乐概述

Romantic music is a term describing a style of Western classical music that covered 1790 to 1910. It evolved from the formats, genres and musical ideas established in earlier periods, such as the classical period, and went further in the name of expression and syncretism of different art forms with music. Romantic composers applied more freedom to the form and structure of their music, and using deeper, more intense expressions of moods, feelings, and emotions. There was an increased interest in literature, nature, the supernatural, and love, along with nationalistic feelings. The idea of the musician as visionary artist and hero all added to the development of Romanticism.

浪漫主义音乐的形成与发展大约在1790～1910年这120年间，它承袭了古典主义音乐时期的音乐样式、类型和思想，并进一步发展出了更具表现力的不同音乐形式。浪漫主义作曲家对结构和形式的限制更少，他们崇尚感性，注重揭示人类精神和内心世界，成为了高瞻远瞩的英雄。事实上，音乐与文学、自然、超自然力量、爱情及爱国情感的紧密结合，都是浪漫主义音乐时期的鲜明特色。

2．Major features of Romanticism　浪漫主义音乐的主要特点

There are four major features of Romantic music:

First, Romantic music has a strong emphasis on imagination and vision.

Unlike Classical composers, Romantic composers aimed for a store powerful expression of emotion, often revealing their innermost thoughts and feelings. It is not just about the emotion of love, it can also be about hate or death (positive or negative feelings). So the formal structure was stretched to accommodate a wider range of keys and sudden changes between them. Harmonies became richer, dissonance was more freely used, and modulation played a more important role. Fantasy and imagination were important to the Romantic style. Composers were often widely read and were inspired by poems, novels, plays, and paintings. The inspiration derived from other art forms created a wide range of visions such as far off lands, the distant past, dreams, night and moonlight, rivers, lakes and forests, nature and the seasons, the joy and pain of love, fairy tales, the supernatural and magic.

英国管：音色比双簧管浓郁而苍凉，比较含蓄内敛	短笛：音域最高的木管乐器

Second, there was a large increase in the orchestra at this time, both in the number of instruments and in their range of pitches and timbres.

As Romantic composers widened the range of their musical material, we find richer harmonies, more passionate melodies, and greater use of chromaticism. The tuba was added to the brass section, valves were invented, giving the brass more flexibility. Composers wrote for woodwind instruments in threes of even fours. The piccolo, cor anglais, bass clarinet and double bassoon were added.A larger string section was formed, to accommodate the extra sound. More varied percussion (e.g. bongos) was added. New combinations of instruments were brought about. A rich variety of compositions resulted, ranging from piano pieces and songs to large spectacular works. The majority of large works were by: Wagner, Berlioz, Mahler and Richard Strauss.

Several improvements were made to the piano in the 19th century, e.g. more notes, metal frame as opposed to wood. The most famous piano composers of the time were: Schubert, Mendelssohn, Chopin, Schumann, Liszt and Brahms. They wrote sonatas and short pieces such as the waltz, mazurka, polonaise, the impromptu and the ballade. This period saw the rise of the virtuoso, a person with extraordinary musical skill, such as Paganini, an Italian violin genius who "made an impact on the devil", and Liszt, a Hungarian pianist who was very concerned with showmanship.

Third, a range of innovative music forms emerged including the Programme Music, the Symphonic Poem, the waltz, and the Lied.

As links were formed between music, painting and literature, composers started to compose Programme Music—music that tells a story. (The opposite is absolute music—music without a story.) The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music. The paradigmatic example is Berlioz's Symphonie Fantastique, which relates a drug-induced series of morbid fantasies concerning the unrequited love of a sensitive poet involving murder, execution, and the torments of Hell. The genre culminates in the symphonic works of Richard Strauss that include narrations of the adventures of Don Quijote, Till Eulenspiegel, the composer's domestic life, and an interpretation of Nietzsche's philosophy of the Superman.

邦戈鼓：用手指弹奏的古巴黑人小型鼓，在管弦乐队中用鼓槌敲击	埃克托·路易·柏辽兹，法国浪漫派作曲家，以1830年写的《幻想交响曲》闻名

The Symphonic Poem (The Tune Poem) was invented by Liszt. It is a one movement programme piece for orchestra and is a subcategory of the programme symphony. In a symphonic poem, the content of a poem, a story or novel, a painting, a landscape or another (non-musical) source is illustrated or evoked. In its aesthetic objectives, the symphonic poem is in some ways related to opera; whilst it does not use a sung text, it seeks, like opera, a union of music and drama. Famous symphonic poems include Hamlet and Danse Macabre (by Liszt), Vltava (by Smetana), A Night on the Bare Mountain (by Mussorgsky).

The waltz is a ballroom and folk dance in triple time, performed primarily in closed position that first appeared in villages in North Austria. The pair twirls in circle in slow or rapid movement. After it gained popularity in Vienna palace in the 17th and 18th century, waltz picked up speed and was widely seen in socializing scenes in cities. The dance culminated in mid-19th century across European countries. The waltz we see now is mostly Vienna style.

Johann Strauss was known as "The Waltz King" in his life time, and was largely then responsible for the popularity of the waltz in Vienna during the 19th century. His famous works were The Blue Danube, Tales from the Vienna Woods, and The Frühlingsstimmen Walzer. The Blue Danube, hailed as the "second national anthem" of Austria, remains on the line-up of the annual New Year's Concert in Vienna.

Fourth, a strong move towards nationalism developed as composers reacted against the powerful German influences by developing a musical style that expressed the characteristics of their own country. The form was particularly popular in Mid and North Europe. Musicians included tunes from their nation's folk music, and taking scenes from their country's history, legends, and folk tales, as a basis for their compositions.

Two of the most revered national music masters were Tchaikovsky (Russian) and Dvořák (Czech). Tchaikovsky was the greatest Russian musician ever. His opera Eugene Onegin and The Queen of Spades were adapted from the poet Pushkin's work. He also turned romantic fairy-tales into musicals, such as The Nutcracker, The Swan Lake, and The Sleeping Beauty. From the New World (Symphony No. 9), Dvořák's most important piece, was an ode to the newly-discovered North America where folk songs and indigenous American Indian music could be found.

浪漫主义音乐有以下四大特点：

第一，浪漫主义音乐极力表现幻象和想象效果。

与古典主义作曲家不同，浪漫主义作曲家强调浓烈情感的瞬间释放，把自己内心深处的思想和感情展现在听众面前。音乐的主题不全是美好的爱，也有描述仇恨或死亡，因为正面负面的情绪都有，所以音乐的音域宽广，常常出现突如其来的音调转折。其和声更加丰富，不和谐声也被更加自由地运用，使乐章抑扬顿挫。幻象和想象是浪漫主义音乐最大的特色之一。作曲家知识广博，诗歌、小说、戏剧和画作都能让他们产生音乐灵感。他们用从其他艺术形式中得到的灵感给听众展现了一幅又一幅奇妙的画卷：遥远的国度、久远的过去，梦境、夜晚和月光，河流、湖泊和森林，自然和四季，爱情的欢乐与痛苦，神话故事以及超自然力量和魔法。

第二，乐队的规模更加庞大，乐器增多，音调和音质都变得更为宽广。

浪漫主义音乐家的作品和音丰富、旋律热情，半音阶的使用非常频繁。因此，铜管乐器部多了低音大喇叭，还发明了乐器活塞，让铜管乐器使用起来更加自如。作曲家还为权专门为木管乐器写作3～4部分的乐章。短笛、英国管、低音单簧管和倍低音管也加入了乐队中；大量的乐器出现在演奏场上，以便能奏出更多的音乐。打击乐器种类更丰富，加入了邦戈鼓。由于出现了新的乐器组合，于是乐章的形式更加复杂，从钢琴曲、歌曲到超大规模的交响乐不一而足。这一时期大多数大规模交响乐出自瓦格纳、柏辽兹、马勒和理查德·施特劳斯之手。

19世纪风行于欧洲的圆舞曲	圆舞曲之王作曲家小约翰·施特劳斯

这一时期钢琴得到改进，加入了更多音调，比如采用金属而不是木头制琴。当时著名的钢琴家有：舒伯特、门德尔松、“钢琴诗人”肖邦、舒曼、李斯特和勃拉姆斯等。他们不仅创作奏鸣曲，还有大量短小曲调，如华尔兹、玛祖卡、波洛内兹舞曲，即兴曲、叙事曲等等。这一时期出现了一些多才多艺的作曲家，他们不仅能作曲，还极为擅长某种乐器，如拉琴时“有如魔鬼附身”的小提琴天才帕格尼尼和表现力极强的匈牙利“钢琴之王”李斯特。

第三，在传统音乐形式上有了更多创新，包括标题交响曲、交响诗和圆舞曲和浪漫曲。

标题交响曲指的是借用文字、诗歌等其他的艺术手段来进行交响曲的创作，其往往根据具体的故事情节来构思，这与不叙述故事的纯音乐恰好。交响曲中的故事情节在给听众的节目单里有所介绍，这样听众就能把故事与音乐联系起来感受。标题交响曲的典型作品是柏辽兹的《幻想交响曲》，它讲述了一个多情诗人求爱被拒，服药之后产生一系列诡异的幻觉的故事，其中穿插着谋杀、处决和地狱的折磨等等情节。标题交响曲在理查德·施特劳斯手中达到顶峰，代表作有《堂吉诃德》、《蒂尔恶作剧》，还有表现作者自己的家庭生活和尼采“超人哲学”的作品。

交响诗是一种单乐章的标题交响音乐，由匈牙利钢琴家李斯特发明，是标题交响乐的一种。交响诗能勾起听众对诗歌、小说、绘画、风景或者其他非音乐的意象的想象。有些交响诗类似歌剧，但是没有歌词。与歌剧一样，交响诗结合了音乐和戏剧的成分，代表作品有李斯特的《哈姆雷特》和《死之舞》、斯美塔那的《伏尔塔瓦河》及莫索尔斯基的《荒山之夜》。

圆舞曲起源于奥地利北部的一种民间三拍子舞蹈，舞时两人成对旋转，分快拍和慢拍两种。17、18世纪这种舞蹈流行于维也纳宫廷，后速度变得渐快，并始用于城市社交舞会。19世纪中期圆舞曲开始风行于欧洲各国，现在通行的圆舞曲大多是维也纳式的圆舞曲。

作曲家小约翰·施特劳斯号称“圆舞曲之王”，19世纪华尔兹之所以广泛流行于维也纳，他功不可没。《蓝色多瑙河》、《维也纳森林的故事》、《春之声》是他著名的代表作，其中《蓝色多瑙河》被冠以奥地利“第二国歌”的称号，每年的维也纳新年音乐会也将该曲被作为保留曲目演出。

第四，民族乐派发展形成。当时德国的音乐是欧洲最强盛的，但是其他民族也不甘其后，在东欧、北欧地区音乐的民族性也越来越强。民族乐派更强调以本民族的历史和传说作为创作的题材，以表现祖国的自然风光、本民族的风土人情、人民性格和爱好。

其中最主要的民族乐派代表人物有俄国的柴可夫斯基和捷克的德沃夏克。柴可夫斯基是俄罗斯最伟大的作曲家，他的歌剧《叶甫根尼·奥涅金》和《黑桃皇后》都是根据普希金的作品编成，此外还有如梦如幻的舞剧《胡桃夹子》、《天鹅湖》和《睡美人》。德沃夏克的《新世界（第九）交响曲》是对北美大陆的歌颂，其将印第安人的土著音乐和捷克民族音乐进行了完美的结合。

3．Preeminent Romanticism composers　浪漫主义音乐代表人物

The works of the later Classism composers such as Beethoven, Rossini and Weber had shown characteristics of Romanticism music. Musicians born around 1800 became the precursors of early Romanticism. The central figures were Schubert and Berlioz, who formed their own distinctive styles by drawing experiences from Gluck, Hayden, Mozart and Beethoven. Later Romanticism reached its prime time during the era of Chaikovski, Liszt and Wagner after the development made by Mendelssohn, Schumann, Chopin and Verdi. Those closer to modern times such as Mahler, Richard Strauss and Rachmaninoff belonged to the later Romanticism period.

“钢琴之王”李斯特（1811～1886年），据说他的小指长于无名指第二关节，能跨钢琴两个八度	舒伯特，一生的境遇悲惨，作品却柔美动听，是早起浪漫主义音乐的代表人物，也被认为是古典主义音乐的最后一位巨匠

在古典派作曲家贝多芬、罗西尼和韦伯的晚期作品中，已经明显流露出浪漫主义音乐的风格，正是他们开创了浪漫派的先河。1800年前后出生的作曲家们形成了初期浪漫主义的中心，舒伯特和柏辽兹可谓初期浪漫派音乐的代表人物，他们从格鲁克、海顿、莫扎特和贝多芬的音乐中得到启发，形成了自己独特的流派。后来，浪漫主义音乐经过门德尔松、舒曼、肖邦和威尔第等人的进一步完善，在柴可夫斯基、李斯特和瓦格纳的时代达到了巅峰。至于马勒、理查德·施特劳斯和拉赫玛尼诺夫等近代名家的作品，则归于晚期浪漫主义音乐。

The early romantic period(1790–1820): Schubert—Master of the Lied　早期浪漫主义代表人物：艺术歌曲作曲家舒伯特

Franz Peter Schubert (1797–1828), an Austrian composer, was a prolific composer in a short lifespan of just nearly 32 years, writing some 600 Lieder, nine symphonies, operas, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death.

It was in the genre of the Lied, however, that Schubert made his most indelible mark. Lied is a German word literally meaning "song". It usually describes the setting of romantic German poems to music, especially during the nineteenth century. The poetry forming the basis for Lied often centers upon pastoral themes, or themes of romantic love. Typically, Lied is arranged for a single singer and piano, the Lied with orchestral accompaniment being a later development.

Schubert has composed music using the poems of a myriad of poets, with Goethe, Mayrhofer and Schiller being the top three most frequent. Among his treatments of the poetry of Goethe, his settings of Gretchen am Spinnrade and Der Erlkönig are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in Gretchen and the furious and ceaseless gallop in Erlkönig. His songs shared the features of folk songs, making many of them, such as Trout and Linden, widely popular folk songs in Europe.

弗朗茨·彼得·舒伯特（1797～1828年）恐怕是众多音乐家中寿命最短的一位了，不到32岁便英年早逝了。但是，他却是作品极为丰富的一位作曲家，一生写了600多首艺术歌曲和9部交响乐，还有大量的室内乐和钢琴独奏乐。他生前名气不大，但是死后却家喻户晓。

舒伯特的创作中心是艺术歌曲（Lied），Lied这个词在德文里就是歌曲的意思，指的是19世纪在德国诗作基础上创作的音乐，用来创作艺术歌曲的诗歌大多是田园诗或者爱情诗。一般来说，艺术歌曲只给一位歌手演唱或者一部钢琴演奏，后来才发展成为用交响乐伴奏。

舒伯特选用的诗歌范围很广，歌德、迈尔霍费尔和席勒的诗是他最常用的，他为歌德的诗《纺车旁的玛格丽特》和《魔王》谱曲，非常具有戏剧表现力。舒伯特的音调风格超前，他用键盘乐器来模仿现实生活中的声音，比如《纺车旁的玛格丽特》中纺车和踏踏板的声音和《魔王》中愤怒而不羁的奔跑声。他的许多歌曲中淳朴的音乐语言常常接近于民歌，如《鳟鱼》、《菩提树》等歌曲后来都成为广泛流传的民歌。

The middle romantic period: Wagner and his grand operas　中期浪漫主义：瓦格纳和他的大歌剧

Wilhelm Richard Wagner (1813–1883) was a German composer and conductor primarily known for his operas. Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are The Ride of the Valkyries from the opera Die Walküre, and The Wedding March (Bridal Chorus) from the opera Lohengrin.

Wagner pioneered advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, which greatly influenced the development of European classical music. His Tristan und Isolde is sometimes described as marking the start of modern music. Wagner's influence spread beyond music into philosophy, literature, the visual arts and theatre.

Der Ring des Nibelungen is a musical with unprecedented scale. It took 26 years to compose and 16 hours to play from the beginning to the end. Wagner even built his own opera for the debut of the show. The musical was adapted from a German legend and told a story of a cursed ring. Wagner used leitmotifs, tunes or chords or little musical phrases which are linked to particular people in the opera, throughout the acts. In this way he can hint at things very cleverly in the music. For example: there is a leitmotiv for the curse. Whenever we hear this curse motive we know that the curse of the ring is working.

Wagner enjoyed fame among different groups of people. Hitler was also a big fan of his music and used it in the propaganda scheme during Nazi's ruling, even in concentration camps. But it does not stand in the way of today's people's to appreciate his legacy.

威廉·理查德·瓦格纳（1813～1883年）是德国著名作曲家、指挥家，其歌剧最为出名。瓦格纳的作品，尤其是他晚期作品结构复杂、曲调丰富、配合密切，各种主题思想编织在一起。与其他大多数歌剧作家不同，在他每一部歌剧作品中，他既作曲又写剧本。其中，瓦格纳最有名的歌曲是歌剧《女武神》中的《女武神骑行》和歌剧《罗英格林》中《婚礼进行曲》。

瓦格纳对音乐进行了大胆创新，比如半音阶的使用和主调的突然转换，这些极大影响了后世欧洲音乐的创作。他的歌剧《特里斯坦和伊索尔德》被认为是现代音乐的开篇之作。他的影响还深入到了哲学、文学、视觉艺术和剧院管理等领域。

《尼伯龙根的指环》是瓦格纳空前规模的歌剧，这部歌剧创作历时26年，从头至尾演出完毕大约需要16小时。为了这部歌剧的首演，瓦格纳甚至建造了属于自己的一座歌剧院。它的剧本是瓦格纳根据德国神话写成的，讲述了一个被诅咒的指环的故事。瓦格纳将主题思想贯穿全剧，即用特定的声调或旋律来描述某个特定的人物或情节，这样他就能随时利用音乐提示情节。比如，他为诅咒编写了一个主题思想，这样听众在听到这个特定旋律的时候，就知道戒指开始发挥它的诅咒力量了。

瓦格纳音乐的爱好者来自世界各地，希特勒也是他的粉丝之一，然而纳粹党人却利用他的音乐作为其种族暴行、屠杀犹太人、发动“二战”的宣传工具，他们甚至在集中营内播放瓦格纳的音乐。但那已经是历史，并不能妨碍今天的人们欣赏这位大师的音乐。

The later romantic period: Mahler—standing on giants　晚期浪漫主义音乐：马勒——站在巨人肩上

Gustav Mahler (1860–1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was more known as a successful conductor than as a composer during his life time. His own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era (Mahler was Jewish). He was later considered as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century.

Mahler was one of the last major composers of a line which includes, among others, Beethoven, Schubert, Liszt, Wagner, Bruckner and Brahms. From these antecedents Mahler drew many of the features that were to characterize his music. Thus, from Beethoven's Ninth Symphony came the idea of using soloists and a choir within the symphonic genre. From Beethoven, Liszt and Berlioz came the concept of writing music with an inherent narrative or "programme", and of breaking away from the traditional four-movement symphony format. The examples of Wagner and Bruckner encouraged Mahler to extend the scale of his symphonic works well beyond the previously accepted standards, to embrace an entire world of feeling. Most of his twelve symphonic scores are very large-scale works, often employing vocal soloists and choruses in addition to augmented orchestral forces.

The union of song and symphonic form in Mahler's music is organic. He once expressed the belief that "The symphony must be like the world. It must embrace everything." True to this belief, he drew material from many sources into his songs and symphonic works: bird calls and cow-bells to evoke nature and the countryside, bugle fanfares, street melodies and country dances to summon the lost world of his childhood. Life's struggles are represented in contrasting moods: the yearning for fulfillment by soaring melodies and chromatic harmony, suffering and despair by discord, distortion and grotesquerie. Some of his most frequently performed works are Symphony No. 1 in D major: Titan, Lieder Eines Fahrenden Gesellen, Des Knaben Wunderhorn, Das Lied von der Erde (The Song of the Earth).

奥地利作曲家古斯塔夫·马勒（1860～1911年）是晚期浪漫主义的代表人物，但他生前指挥家的身份却更加知名。马勒的作品魅力被忽视了很长时间，因其是犹太人，纳粹时期欧洲许多国家还曾经禁止过他的音乐。但后世认为他是连接19世纪德奥音乐和20世纪现代音乐之间的桥梁。

马勒是那个时代众多伟大音乐家的最后一位，因此他从前辈浪漫主义作曲家那里吸收了许多营养，贝多芬、舒伯特、李斯特、瓦格纳、布鲁克纳和勃拉姆斯对他都有很大影响。比如，从贝多芬的《第九交响曲》中，他学习到在交响乐团中加入独唱和合唱的方法；从贝多芬、李斯特和柏辽兹身上，他学习到用“主题”来进行叙述性的创作，并且打破传统的交响曲四段式格式；从瓦格纳和布鲁克纳那里，他学习到扩大作品的规模，来表达更加强烈的情感。在他12首交响曲中，许多都是规模宏大的作品。

马勒作品中的歌曲和交响曲融合得天衣无缝。他曾说过：“交响乐就应该同现实世界一样，无所不包。”所以，他把许多不同的材料都放到自己的作品中。他用鸟儿的鸣叫、牛铃的叮当展现自然和乡村风貌，而各种仪式乐曲、街头音乐和乡村舞蹈都能唤起他童年的回忆。在马勒的作品中，人生的艰辛由两种对立的情绪来表现：迅速升高的旋律和半音代表希望，不和谐音、扭曲和诡异的音符代表困厄和绝望。现在仍然经常上演他的作品有《D大调第一交响曲：巨人》、《旅人之歌》、《少年魔号》和《大地之歌》。