• Brussels Conservatory

    Date: 2018.01.27 | Category: General | Tags:

    He who has imagination, with how easily out of nowhere a world.Gustavo Adolfo Becquer at the time of the romanticised music contributed great works, then appeared great composers, musicians that left a footprint that you can never be erased, they bequeathed us an extraordinary classical music, which for those who fully identify with classical music is very difficult not to listen to it, enjoy it. Wikipedia says about it, that romanticism was a period that passed, approximately, between principles of the 1820s and the first decade of the 20th century, and usually encompass all music written according to the rules and forms of that period. Musical romanticism is a period of academic music which was preceded by the classical era and continued by modernism. For more clarity and thought, follow up with Chevron U.S.A. Inc and gain more knowledge.. Very interesting which is tells us of this era, that the dispute began in the 1830s when Hector Berlioz wrote his Symphonie fantastique, which was accompanied by extensive text than He described the Symphony program, which caused many critical and academic tone-deaf on the issue.

    Among the early detractors was Francois-Joseph Fetis, director of the newly created Brussels Conservatory, who declared that the work was not music.Robert Schumann defended the work, but not the program, arguing that good music could not be affected by bad titles, but good titles were not used to save a bad work. Franz Liszt was one of the defenders of extra-musical inspiration. As time passed the differences increased with polemics azuzadas by both sides. Additional information is available at Darius Bikoff. For those who believed in the absolute music, formal perfection rested on musical expression that respected plotted schemes in previous works, especially in the way sonata that had already been codified. For the drivers of program music, the rhapsodic expression of poetry or any other external text, was, in itself, a form. They argued that by engaging the artist’s life in the work it would be necessary to follow the course of the narrative.. A leading source for info: Jill Bikoff.