Two works of literature or music that defined Romantic period?

Question

That helped shape and embodied all the characteristics of the time.

Answer 1

Brahms's works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Joseph Haydn in versions for two pianos and for orchestra.

His chamber works include three string quartets, two string quintets and two string sextets, as well as a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets and three piano trios. He composed several instrumental sonatas with piano, including three for violin, two for cello and two for clarinet (which where subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms also wrote about 200 songs and is considered among the greatest of Lieder composers. His chorale preludes for organ, which he wrote shortly before his death, have become an important part of the organists' repertoire.

Brahms never wrote an opera, nor did he ever write in the characteristic late-19th century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.

Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the large contemporary market of domestic music making, and are small-scale and popular in intention. These included his arrangements of Hungarian Dances, the Waltzes op.39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, Op.49 no.4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is known as Brahms' Lullaby.







The following is a list of compositions by the composer Johannes Brahms.


[edit] Works by Opus number
Op. 1, Piano Sonata No. 1 in C major (1852)
Op. 2, Piano Sonata No. 2 in F-sharp minor (1852)
Op. 3, Six Songs (1853)
Op. 4, Scherzo in E-flat minor for piano (1851)
Op. 5, Piano Sonata No. 3 in F minor (1853)
Op. 6, Six Songs
Op. 7, Six Songs
Op. 8, Piano Trio No. 1 in B major (1854)
Op. 9, Variations on a theme by Robert Schumann in F-sharp minor for piano (1854)
Op. 10, Four Ballades for piano (1854)
No. 1 in D minor
No. 2 in D major
No. 3 in B minor
No. 4 in B major
Op. 11, Serenade No. 1 in D major for orchestra (1857)
Op. 12, Ave Maria
Op. 13, Begräbnisgesang
Op. 14, Eight Songs and Romances
Op. 15, Piano Concerto No.1 in D minor (1859)
Op. 16, Serenade No. 2 in A major for orchestra (1859)
Op. 17, Four Songs for female voices, two horns and harp
Op. 18, String Sextet No. 1 in B-flat major (1860)
Op. 19, Five Poems
Op. 20, Three Duets
Op. 21, Two Sets of Variations for piano
No. 1 Eleven variations on an original theme in D major (1857)
No. 2 Fourteen variations on a Hungarian melody in D major (1854)
Op. 22, Marienlieder
Op. 23, Variations on a Theme by Robert Schumann for piano, four hands (1861)
Op. 24, Variations and Fugue on a Theme by Handel for piano (1861)
Op. 25, Piano Quartet No. 1 in G minor (1861)
Op. 26, Piano Quartet No. 2 in A major (1861)
Op. 27, Psalm 13
Op. 28, Four Duets
Op. 29, Two Motets (1860, published 1864)
No. 1 Es ist das Heil uns kommen her
No. 2 Schaffe in mir Gott
Op. 30, Geistliches Lied
Op. 31, Three Vocal Quartets
No. 1 Wechsellied zum Tanze (1859)
No. 2 Neckereien (1863)
No. 3 Der Gang zum Liebchen (1863)
Op. 32, Nine Songs
Op. 33, Fifteen Romances from Tieck's "Liebesgeschichte der schönen Magelone"
Op. 34, Piano Quintet in F minor (1864)
Op.34b, Sonata for 2 Pianos in F minor
Op. 35, Variations on a Theme by Paganini for Piano (1862-1863)
Op. 36, String Sextet No. 2
Op. 37, Three Sacred Choruses
Op. 38, Cello Sonata No. 1 in E minor
Op. 39, Sixteen Waltzes for piano, four hands (1865)
No. 1 in B major
No. 2 in E major
No. 3 in G-sharp minor
No. 4 in E minor
No. 5 in E major
No. 6 in C-sharp major
No. 7 in C-sharp minor
No. 8 in B-flat major
No. 9 in D minor
No. 10 in G major
No. 11 in B minor
No. 12 in E major
No. 13 in C major
No. 14 in A minor
No. 15 in A-flat major
No. 16 in D minor
Op. 40, Trio for Horn, Violin and Piano in E-flat major (1865)
Op. 41, Five Songs for male voices
Op. 42, Three secular songs for choir
Op. 43, Four Songs
Op. 44, Twelve Songs and Romances
Op. 45, Ein deutsches Requiem (1868)
Op. 46, Four Songs
Op. 47, Five Songs
Op. 48, Seven Songs
Op. 49, Five Songs -- (#4, "Wiegenlied", is also known as "Brahms' Lullaby")
Op. 50, Rinaldo
Op. 51, Two String Quartets
String Quartet No. 1 in C minor (1873)
String Quartet No. 2 in A minor (1873)
Op. 52, Eighteen Liebeslieder-Waltzer for piano, four hands and vocal quartet ad libitum (1874)
Op. 53, Alto Rhapsody
Op. 54, Schicksalslied
Op. 55, Triumphlied
Op. 56, Variations on a Theme by Joseph Haydn (1873)
Op. 57, Eight Songs
Op. 58, Eight Songs
Op. 59, Eight Songs
Op. 60, Piano Quartet No. 3 in C minor
Op. 61, Four Duets
Op. 62, Seven secular songs for choir
Op. 63, Nine Songs
Op. 64, Three Vocal Quartets
Op. 65, Neue Liebeslieder - 15 Waltzes
Op. 66, Five Duets
Op. 67, String Quartet No. 3 in B-flat major (1876)
Op. 68, Symphony No. 1 in C minor (1876 première)
Op. 69, Nine Songs
Op. 70, Four Songs
Op. 71, Five Songs
Op. 72, Five Songs
Op. 73, Symphony No. 2 in D major (1877)
Op. 74, Two Motets
Op. 75, Four Ballads and Romances
Op. 76, Eight Pieces for piano (1878)
No. 1 Capriccio in F-sharp minor
No. 2 Capriccio in B minor
No. 3 Intermezzo in A-flat major
No. 4 Intermezzo in B-flat major
No. 5 Capriccio in C-sharp major
No. 6 Intermezzo in A major
No. 7 Intermezzo in A minor
No. 8 Capriccio in C major
Op. 77, Violin Concerto in D major (1878)
Op. 78, Violin Sonata No. 1 in G major
Op. 79, Two Rhapsodies for piano (1879)
No. 1 Rhapsody in B minor
No. 2 Rhapsody in G minor
Op. 80, Academic Festival Overture for orchestra (1880)
Op. 81, Tragic Overture for orchestra (1880)
Op. 82, Nänie (1881)
Op. 83, Piano Concerto No. 2 in B-flat Major(1881)
Op. 84, Romances and Songs
Op. 85, Six Songs
Op. 86, Six Songs
Op. 87, Piano Trio No. 2 in C major
Op. 88, String Quintet No. 1 in F major (1882)
Op. 89, Gesang der Parzen
Op. 90, Symphony No. 3 in F major (1883)
Op. 91, Two Songs for Voice, Viola & Piano.
Op. 92, Four Vocal Quartets
Op. 93, Six Songs and Romances for choir
Op. 94, Five Songs
Op. 95, Seven Songs
Op. 96, Four Songs
Op. 97, Six Songs
Op. 98, Symphony No. 4 in E minor (1885)
Op. 99, Cello Sonata No. 2 in F major (1886)
Op. 100, Violin Sonata No. 2 in A major (1886)
Op. 101, Piano Trio No. 3 in C minor (1886)
Op. 102, Double Concerto for Violin and Cello in A minor (1887)
Op. 103, Zigeunerlieder
Op. 104, Five songs for choir
Op. 105, Five Songs
Op. 106, Five Songs
Op. 107, Five Songs
Op. 108, Violin Sonata No. 3 in D minor
Op. 109, Fest- und Gedenksprüche for choir
Op. 110, Three Motets
Op. 111, String Quintet No. 2 in G major ("Prater") (1890)
Op. 112, Six Vocal Quartets
Op. 113, Thirteen Canons for female choir
Op. 114, Trio for Piano, Clarinet, and Cello in A minor (1891)
Op. 115, Quintet for Clarinet and Strings in B minor (1891)
Op. 116, Seven Fantasias for piano (1892)
No. 1 Capriccio in D minor
No. 2 Intermezzo in A minor
No. 3 Capriccio in G minor
No. 4 Intermezzo in E major
No. 5 Intermezzo in E minor
No. 6 Intermezzo in E major
No. 7 Capriccio in D minor
Op. 117, Three Intermezzi for piano (1892)
No. 1 in E-flat major
No. 2 in B-flat minor
No. 3 in C-sharp minor
Op. 118, Six Pieces for Piano (1893)
No. 1 Intermezzo in A minor
No. 2 Intermezzo in A major
No. 3 Ballade in G minor
No. 4 Intermezzo in F minor
No. 5 Romance in F major
No. 6 Intermezzo in E-flat minor
Op. 119, Four Pieces for piano (1893)
No. 1 Intermezzo in B minor
No. 2 Intermezzo in E minor
No. 3 Intermezzo in C major
No. 4 Rhapsody in E-flat major
Op. 120, Two Clarinet Sonatas
Op. 121, Vier ernste Gesänge ("Four Serious Songs") (1896)
Op. 122, Eleven Chorale Preludes for organ (1896)
No. 1 Mein Jesu, der du mich
No. 2 Herzliebster Jesu, was hast du verbrochen
No. 3 O Welt, ich muss dich lassen
No. 4 Herzlich tut mich erfreuen
No. 5 Schmücke dich, o Liebe Seele
No. 6 O wie selig seid ihr doch, ihr Frommen
No. 7 O Gott, du frommer Gott
No. 8 Es ist ein Ros' entsprungen
No. 9 Herzlich tut mich verlangen
No. 10 Herzlich tut mich verlangen (second version)
No. 11 O Welt, ich muss dich lassen (second version)

[edit] Works without Opus number (German: Werke ohne Opuszahl)
WoO 1 Hungarian Dances (1869) (Brahms considered these adaptations, not original works, and so he did not assign an Opus #) [1]
WoO 7, Chorale Prelude and Fugue on „O Traurigkeit, o Herzeleid“ for organ
WoO 8, Fugue in A-flat minor for organ
WoO 9, Prelude and Fugue in A minor for organ
WoO 10, Prelude and Fugue in G minor for organ



Big six in the romantic literature of England
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The Big Six of English romantic literature pertains to the six figures who are historically supposed to have formed the core of the Romantic movement of late 18th and early 19th century England. The term, though widely used as an easy term for the canonical Romantic poets, is just as widely known to be both anachronistic and unduly exclusive. The six poets differ greatly from one another, and in certain cases might have positively rejected such a grouping. During the period, critics identified what are now called "romantic" features in a number of groupings. Wordsworth, Coleridge, and Robert Southey were labelled (prejudicially) as the Lake School by the Edinburgh Review; Shelley and Byron were described (by Southey) as the Satanic School; Keats was associated with the "Cockney School" that was centered around Leigh Hunt. Although chronologically earliest among these writers, William Blake was a relatively late addition to the list; prior to the 1970s, romanticism was known for its "Big Five."

The term, then, did not originate within the period, but emerged during the succeeding Victorian era as a canonical denomination of its predecessor. Arguably, it represents an unduly narrow focus on the literature of the period. For some critics, the term establishes an artificial context for disparate work and removing that work from its real historical context: the result, it is often complained, is a distorting stress on certain "Romantic" themes (such as "organicism") at the expense of equally valid themes (particularly those related to politics.) The term has also been cited as evidence of a gender bias in criticism of the period. For feminist critics, exclusive interest in these six male poets bespeaks an ignorance of, or indifference to, the burgeoning of literature by women during the same decades.

The six authors are, in order of birth:

William Blake, The Marriage of Heaven and Hell
William Wordsworth, The Prelude
Samuel Taylor Coleridge, Rime of the Ancient Mariner
George Gordon, Lord Byron, Don Juan
Percy Bysshe Shelley, Prometheus Unbound
John Keats, Ode on a Grecian Urn
Mary Shelley, author of Frankenstein, associate of many of the writers above and wife of Percy Shelley, was also a major influence on the movement.

Answer 2

Here's what I learned in college about the Romantic period. Pre-Romantics, in the very late 18th century, would include people like William Blake. But the real Romantic era was ushered in with the 19th century, and pretty much held true for the entire century. The Romantic idea was that the individual was most important. This was breaking away from the 18th century ideal of Natural Law; the idea there was that we must learn what Natural Law dictated for all occasions, then follow it. The Romantics said, No, the individual human is what is important. Look at the works of Keats, Shelly, Byron -- they were among the major spokesmen for this era. Hope that helps.

Answer 3

IVANHOE by Sir Walter Scott and PRIDE AND PREJUDICE By Jane Austen are two romantic novels that define the Romantic Period.

Chow!!

Answer 4

Most any symphony by Brahms or Mahler would sum up the Romantic period.