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Topic: Which composer would you consider the Mozart of the romantic period?  (Read 3424 times)

Offline yohankwon

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Mendelssohn or Chopin?

I personally think both could fit, since Mendelssohn wrote a lot of chamber music and symphonies in the form mozart used, and same with Chopin for the piano concertos and sonatas.

What do you guys think?

Offline sirpazhan

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Chopin

This is a given....
\\\\\\\"I like these calm little moments before the storm. It reminds me of Beethoven\\\\\\\"

Offline asiantraveller101

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Your argument is flawed. Mendelssohn also wrote piano sonatas and piano concertos.

Offline patrickd

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I would choose Mendelssohn.

Offline yohankwon

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Your argument is flawed. Mendelssohn also wrote piano sonatas and piano concertos.


It is true, but the concertos are not in the related form of the Mozart concertos

Offline rachmaninoff_forever

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Stravinsky.
Live large, die large.  Leave a giant coffin.

Offline asiantraveller101

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It is true, but the concertos are not in the related form of the Mozart concertos
And neither is Chopin concertos.

Offline cabbynum

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Cage
Hands down, how could it not be him.
Just here to lurk and cringe at my old posts now.

Offline yohankwon

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And neither is Chopin concertos.


False. There is a long orchestral introduction at the beginning of the first Mvt and then the soloist comes in, unlike Mendelssohn.

Offline pianoman53

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False. There is a long orchestral introduction at the beginning of the first Mvt and then the soloist comes in, unlike Mendelssohn.
You can't be serious in that argument? There is a bit more form to analyze that whether or not a concerto starts with an orchestral introduction...

However, Mendelssohn said "If Mozart would be alive today, he wouldn't write concertos like Mozart, but like Chopin." Though, it's not a very strong argument for anything.. just a fun thing to say.

Offline leroy199

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Chopin only composed for the piano, he is unique in that way so i dont think he fits in the same category of composer as mozart but i think for a majority of people and my self Chopin is the king of the romantic period.

Offline evitaevita

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Stravinsky.

He was not in the romantic period!

Mendelssohn or Chopin?

That's a really difficult question, because it depends on a lot of things...
Maybe I would say Mendelssohn. He composed in many different forms and for almost all instruments (of his period of course).
On the other hand, Chopin composed almost exclusively for piano, so I think this makes him a different type of composer.
"I'm a free person; I feel terribly free. They could put me in chains and I still would be free because my thoughts would be mine - and that's all I want to have."
Arthur Rubinstein

Offline iansinclair

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What, really, do you mean by the "Mozart of the romantic period"?  Because if you are referring the type of music written, that's one thing -- but if you are referring to Mozart's outstanding genius as a composer (of any period) it is a rather different question.  In the latter case, in my view neither Chopin nor Mendelssohn, to take two who have been mentioned above, really qualifies (much as I love Chopin...).  If you include late Beethoven as being in the period (which can be argued for, quite strongly), the choice is a bit simpler.  However, if you have to start later you must also define the end of the period in question with great care; depending on just how you define it, you would need to examine (in no particular order) the likes of Richard Strauss, Mahler, Dvorak, Brahms -- perhaps even Wagner or Verdi -- just to name a few (just a little later you would have to consider some of the Russians, as well as Sibelius and perhaps Nielsen).

So... difficult question!
Ian

Offline thalbergmad

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For all round musical ability, it would have to be Saint Saens.

Thal
Curator/Director
Concerto Preservation Society

Offline albumblatter

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Either Saint-Saens or Dvorak would be my answer. Both have inexhaustible symphonic outputs and transcendental choral music (that are often unfairly neglected).
Also, Dvorak's 3rd Trio makes my heart ache.

Offline orangesodaking

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Either Saint-Saens or Dvorak would be my answer. Both have inexhaustible symphonic outputs and transcendental choral music (that are often unfairly neglected).
Also, Dvorak's 3rd Trio makes my heart ache.

Mendelssohn's choral works are to not be missed, either!! They outshine his piano output in my opinion.

Right now, I'm listening to Dvorak's Stabat Mater. Wow.

Offline JCarey

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This strikes me as a rather silly question. There can only be one Mozart, and the fact is that the Romantic aesthetic is so different than that of Mozart's music that attempting to describe any composer as "the Mozart of the romantic era" would seem to be a rather pointless and futile exercise for anyone who has any real understanding of Mozart's music or the Classical period in general.

With that said, Brahms would be the only remotely logical choice in my opinion.

Offline thesixthsensemusic

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My guess would be Schubert.

First of all, He proved he could excell in all disciplines Mozart was famous for. The symphony, chamber music, music dramas, liturgical music, piano music, plus he was one of the biggest ever, if not THE biggest ever, composer of art song. His operas might not be as widely known as Mozart's, but they are musically superb, unfortunately often hampered by bad libretti. Something that only resulted from Schubert's obscurity relative to Mozart, who had access to the finest drama writers and opera companies.

Also, Schubert often employed a style that was based on long and well-developed melodies just like Mozart, instead of motive-based writing like you see with Beethoven or Schumann very often (notwithstanding the fact that both were terriffic melody men themselves of course).
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Women and the Chopin Competition: Breaking Barriers in Classical Music

The piano, a sleek monument of polished wood and ivory keys, holds a curious, often paradoxical, position in music history, especially for women. While offering a crucial outlet for female expression in societies where opportunities were often limited, it also became a stage for complex gender dynamics, sometimes subtle, sometimes stark. From drawing-room whispers in the 19th century to the thunderous applause of today’s concert halls, the story of women and the piano is a narrative woven with threads of remarkable progress and stubbornly persistent challenges. Read more
 

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