Post #5 in our Neo-Romanticism series.
Classicism is “a style supposedly notable for masterly compactness of form, moderation in the use of resources, and avoidance of undue emotionalism.”3 Composers of this period, such as Haydn and Mozart, often produced music that conformed to the general aesthetic ideals of balance, symmetry, variety and clarity of musical idea. They also had a certain reverence for specific musical forms and harmonic principles. Their works tended to be formal and often emotionally restrained or controlled.
On the other hand, Romanticism can often be defined as a movement away from some of these values towards their opposites: less emphasis on traditional form and control and more emphasis on giving emotional expression full reign. This often resulted in the development of new, freer forms; new harmonic and rhythmic languages; works for larger orchestras, and more imaginative and daring use of musical ideas and instrumentation. “The main musical implication (in Romanticism) is that the composer is more concerned with the vivid depiction of an emotional state than with the creation of aesthetically pleasing structures. The attempt at more and more ‘vividness’ led to (a) a trend to the evocation of ‘extreme’ emotions, and (b) an expansion of orchestral resources for this purpose.”4
While Neo-Romanticism obviously leaned more heavily in the romantic direction, it exhibits some of the traditional elements of both Classicism and Romanticism, and even earlier periods. Ernest Bloch, for instance, loved many aspects of both the Renaissance and Baroque periods and composed several concerti grossi using neo-romantic techniques.
Post #6 in this series will discuss What is American Neo-Romanticism?
3 Jacobs, Arthur. The American Dictionary of Music. Aldine Publishing Co., Chicago, 1961, p. 74
4 Jacobs, Arthur. The American Dictionary of Music. Aldine Publishing Co., Chicago, 1961, p. 314