Lesson XXX.—1. German appreciation of music in Haydn’s time. 2. Haydn as a man. 3. Haydn’s connection with Mozart.
Lesson XXXI.—1. Mozart’s character. 2. Mozart’s struggles with poverty. 3. Mozart’s contributions to form. 4. The Viennese school of this period.
Lesson XXXII.—1. Beethoven’s character as shown in his letters. 2. Beethoven’s peculiarities. 3. Beethoven and his contemporaries.
Lesson XXXIII.—1. Beethoven’s manner of composing. 2. Beethoven’s love of nature. 3. Effect of Beethoven upon succeeding composers.
Lesson XXXIV.—1. The points of superiority of the Violin over the Viol. 2. The three great makers of violins. 3. Why the violin is called the King of Instruments.
Lesson XXXV.—1. The character of early violin music. 2. The development of violin playing and composition. 3. Arrange the great players in their respective schools.
Lesson XXXVI.—1. Classify the instruments of the orchestra. 2. Give a sketch of the development of the orchestra, instruments added, etc. 3. Contrast Beethoven’s work with that of his predecessors and successors. 4. What is the form of a Symphony? In what respects does the form used by modern composers differ from that of the classical symphony?
LESSON XXXVII.
The Romantic Opera. Weber, Spohr, Marschner.
The Romantic Movement.—The revolutionary spirit which arose in Europe toward the end of the 18th century had its counterpart in a similar intellectual and artistic reaction, commonly known as the Romantic Movement. In Literature, this movement was led by France; in Music, by Germany. Briefly described, it consisted in casting aside the classical traditions which the Renaissance had imposed upon art in general and in a substitution of themes and a treatment more in consonance with the atmosphere of freedom which had inspired such momentous social and political changes.
Its Effect on Music.—The musician also felt the influence of the general unrest. In seeking new modes of expression, he rose to a consciousness of independence both as man and artist; he refused longer to occupy the position of an upper servant which had been decreed him by court and nobility. Mozart marked the passing of the old order of things by his indignant rejection of the humiliating conditions of service under the haughty Archbishop of Salzburg, only remembered by later generations through his connection with the musician he treated so contemptuously. Heretofore music had been the privileged entertainment of the great and wealthy. Like other privileges, it was to pass into the possession of the people, hitherto shut out from its enjoyment save in the Church. It was to draw inspiration from a rich store of Folk-lore and poetry heretofore disregarded by the scholar and the musician, but soon to be recognized as a national heritage of high import; it was to create new forms instead of being dependent on time-worn formulæ which were repressing growth and development.