The Early Romantic Era: Between Revolutions: 1789 and 1848 by Alexander (ed) RINGER

By Alexander (ed) RINGER

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Extra resources for The Early Romantic Era: Between Revolutions: 1789 and 1848

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Veron was easily able to put up 50,000 francs towards the 250,000 demanded by the government: the rest came from Alexandre Marie Aguado, a fabulously wealthy financier and merchant from Sfain who in 1810 had served in Napoleon's army of occupation there. 2 The government must have felt some qualms about handing such an important showcase over entirely to market forces, for it continued to provide a subsidy, albeit reduced, and to insist that all plots and librettos be cleared with a government-run commission.

The more the 'language of feeling' sought to fathom the human psyche, especially the composer's own, the more tortured and extended, it seems, was the creative process. Whatever results it yielded, moreover, frequently underwent periodic revisions, as if, at a time when performers began to insist on highly idiosyncratic 'interpretations', at least some composers felt they ought to contribute their share . This Romantic trend reached its apogee only later in the century . But the young Brahms was by no means the first to experiment with different versions of what were in essence semi-autobiographical musical essays which, as in his case, might end up as a piano concerto, quartet or symphony.

Also typical is the song's absorption of ideas and even specific words and images from government propaganda. The official proclamation ofwar against Prussia and Austria had included the words 'Aux armes, citoyens! l'etendard de Ia guerre est deploye! . ', and indeed had repeated the call 'Aux armes, citoyens' several times. Rouget de Lisle echoed this rhetorical gesture by placing the same phrase at the head of his refrain. 3 Although Rouget de Lisle's song had been written in Strasbourg under the title 'Chant de guerre pour l'armee du Rhin', Paris learnt it from a battalion arriving from Marseilles, hence its accepted name.

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