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German and Hungarian Romanticism - Coggle Diagram

- - - - this term was first applied to Liszt's 13 one-movement orchestral works which were symphonic movements in the classical sense as they depicted subjects taken from mythology and where not abstract as symphonic movements in the classical sense where.
      - Symphonic poems was a direct product of romanticism as music began to depicts pictures and literary associations.
- - - - In 1872 he started violin lessons at the Royal School of Music from Benno Walter, his father's cousin.
        
        Strauss first heard one of Wagner's operas (Lohengrin and Tannhäuser) in 1874, aged 10. At first, his father banned him from studying Wagner’s music. It was not until the age of 16 that he was able to get a score of 'Tristan und Isolde'. Wagner's music made a profound impact on his musical development.
        
        Strauss’s early works were far more conservative but they began to change when he met Alexander Ritter, a composer and violinist who persuaded Strauss to abandon the musical style of his youth, and begin writing tone poems.
        
        Violin Concerto in D minor (1881-1882)
        In early 1882 Strauss gave the first performance of his 'Violin Concerto in D minor' in Vienna, playing a piano reduction of the orchestral part himself, with his cousin and teacher Benno Walter as soloist. Though written in the romantic tradition of its time, it's a bold and inventive work in which Strauss hints at his reverence for Mozart and Beethoven.
        
        Strauss's first piece to show his mature personality was the tone poem 'Don Juan' (1888). He went on to compose a series of increasingly ambitious tone poems including 'Also Sprach Zarathustra' - also known as the theme for '2001: A Space Odyssey'.
        
        In 1905, Strauss created 'Salome', a musically difficult modern opera based on the play by Oscar Wilde. It received a passionate reaction from audiences and Strauss's contemporaries. Ravel said that it was "stupendous" and Mahler described it as "a live volcano, a subterranean fire".
        
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- - - - his three years in Paris were calamitous, Wagner could not break into the closed circle at the Opéra.
        Living with a colony of poor German artists, he staved off starvation by means of musical journalism and hackwork. Nevertheless, in 1840 he completed Rienzi (after Bulwer-Lytton’s novel), and in 1841 he composed his first representative opera, Der fliegende Holländer (The Flying Dutchman), based on the legend about a ship’s captain condemned to sail forever.
        
        THE EXILE
        
        Tannhäuser (based, like all his future works, on Germanic legends) was not so well received but soon proved a steady attraction; after this, each new work achieved public popularity despite persistent hostility from many critics.
        
        For the next 15 years Wagner was not to present any further new works. Until 1858 he lived in Zürich, composing, writing treatises, and conducting
        
        Retutn From Exile
        
        The Flying Dutchman (1843)
        Opera by Wagner
        
        In 1842, aged 29, he gladly returned to Dresden, where Rienzi was triumphantly performed. The next year The Flying Dutchman (produced at Dresden,1843) was less successful, since the audience expected a work in the French-Italian tradition similar to Rienzi and was puzzled by the innovative way the new opera integrated the music with the dramatic content.
        
        In the overture Wagner represents a storm
        using leitmotifs, heavy brass lines and scalic string runs
      - Symphony in C Major was performed at the Leipzig Gewandhaus concerts in 1833.
        he composed his first opera, Die Feen (The Fairies),