Romantic era
Musical period 1820–1900.
What it means
The Romantic era designates the musical period roughly between 1820 and 1900. The boundaries are fluid: the transition from the Classical period took place gradually, and at the end of the century various directions exist side by side, merging into one another. Characteristic is the conception that music is the expression of an inner self and can say what words cannot reach — a conception that gives instrumental music a new rank.
Musical use
Musically this shows itself in expanded harmony with far-reaching tonicizations, in intensified chromaticism, in longer dynamic arcs, and in an orchestration that makes tone colour an independent means. The orchestra grows, the piano is built more powerfully, new instruments are added. Formally two tendencies stand side by side: the concise form of the character piece and the song on the one hand, the large-scale symphony and the symphonic poem on the other. Programme music and absolute music become the subject of a debate that shapes the period. Engagement with older music and with folk songs also belongs in this context.
Performance practice
Shape in large arcs and plan intensifications over long stretches instead of bar by bar. Use rubato as a means of expression, but without losing the pulse; the tempo remains the reference. Work on tone colour and on the gradation of dynamics, which is finely organized in this music. Note that tempo markings are often broadly conceived and carry character designations. Check, with nineteenth-century editions, which markings come from the composer and which from editors.
Bear in mind that nineteenth-century editions are often heavily worked over by editors: fingerings, phrase slurs, and dynamic markings often do not come from the composer. Check this and consult a critical edition. New genres of the period are the lyric piano piece, the art song, and the symphonic poem. The orchestra grew, and new instruments such as the tuba and valve horns were added. Programme music, that is, music with extra-musical content, gained strongly in importance.
Check, with orchestral works, whether the required scoring is fully available, because substitute solutions change the sound.