Talk:List of Romantic composers/Archive 1

Archive 1

Comment

Please be careful that a link goes where you think it does... lots of those in the Late Romantic Composers sections, even those that aren't redlinks, don't. Could be confusing for a reader, I'd think. Schissel : bowl listen 16:47, 27 September 2005 (UTC)

(Obviously meant going by former, in comment) Schissel : [[User_talk:Schissel|''bowl listen'']] 05:00, 15 November 2005 (UTC)

Composers removed from page

These composers have been removed in an attempt to consolidate the list. There is a reference to the standard reportoire list; if you can find a similar list, please reference it before adding one of these composers back onto the list. Thank you. Dafoeberezin3494 16:53, 14 August 2006 (UTC)

• Anthony Philip Heinrich (1781-1861), American composer of Bohemian origin, first significant American orchestral composer, wrote highly original program music
• Tom Nunez (100BC-2008), Best composer in the history of man-kind, noted for innovative contrapuntal experiments
• Jean-Louis Tulou (1786-1865) [1], French composer and flutist
• Nicolas Bochsa (1789-1856), French composer best known today for his studies and exercises for the harp, one of the most celebrated harpists of the 19th century
• Carl Czerny (1791-1857), Austrian composer best known today for his studies and exercises for the piano
• Jan Václav Voříšek (1791-1825), Czech composer, pianist, and organist
• Johann Carl Gottfried Löwe (1796-1869), German composer of lieder
• Alexei Fyodorovich Lvov (1799-1870), Russian composer, wrote God Save the Tsar!, the Russian national anthem from 1833-1917
• Josef Lanner (1801–1843), Austrian dance music composer
• Albert Lortzing (1801-1851), German composer of comic opera
• Julius Benedict (1804-1885), English composer and conductor, wrote many operas
• Juan Crisóstomo Arriaga (1806-1826), Spanish composer who moved to Paris, France
• Johann Kaspar Mertz (1806-1856), Austrian composer for the classical guitar
• Michael William Balfe (1808-1870), Irish opera composer, best known for The Bohemian Girl (1844)
• Frederick Nicholls Crouch (1808-1896), English composer and cellist
• Stephen Heller (1813-1888), Hungarian composer and pianist, influenced later Romantic composers
• William Henry Fry (1813-1864), American composer, wrote the first opera written and produced in the United States
• Heinrich Wilhelm Ernst (1814-1865), German violinist and composer, considered by some the greatest violinist of his time after Paganini
• Vasilii Sarenko (1814-1881), Russian composer for the classical guitar
• Herman Severin Løvenskiold (1815-1870), Norwegian, wrote the score for the ballet La Sylphide
• August Wilhelm Ambros (1816-1876), Austrian composer, similar in style to Felix Mendelssohn
• Edouard Deldevez (1817-1897), French composer, conductor, and violinist
• Eduard Franck (1817-1893), German composer who studied with Mendelssohn
• Gunnar Wennerberg (1817-1901), Swedish composer, poet, and politician
• Louis Théodore Gouvy (1819-1898), French composer of lieder
• Henry Charles Litolff (1818-1891), English composer and virtuoso keyboardist
• Carl Mikuli (1819-1897), Polish composer, conductor, and pianist, student of Frédéric Chopin
• Joachim Raff (1822-1882), Swiss-born composer, noted for his eleven symphonies, particular nos. 3 (Im Walde), 4 and 5 (Lenore)
• Josef Strauss (1827-1870), Austrian dance music composer
• Woldemar Bargiel (1828-1897), German composer and teacher
• Louis Moreau Gottschalk (1829-1869), American composer, incorporated Creole melodies into his work
• Anton Rubinstein (1829-1894), Russian composer and pianist
• Karl Goldmark (1830-1915), Hungarian influenced by Wagner
• Gustav Lange (1830-1889), German composer and pianist, two of his best loved piano solos are Edelweiss (Op. 31) and Blumenlied (Op. 39), a.k.a, Flower Song
• August Söderman (1832-1876), Swedish composer, noted for his lieder and choral works
• Francis Edward Bache (1833-1858), English composer-pianist
• Felix Draeseke (1835-1913), German composer of the 'New German' school who nevertheless composed in the classical forms: his greatest work is the Symphony No. 3 (Tragica); the Cello Sonata, Op. 51 is also worthy to be ranked with Brahms
• Mily Balakirev (1837-1910), Russian composer, member of The Mighty Handful
• Emile Waldteufel (1837-1915), French composer of popular music as well as waltzes and polkas
• Friedrich Gernsheim (1839-1916), German composer, conductor, pianist and teacher (Moscheles pupil and friend of Brahms)
• Josef Rheinberger (1839-1901), Liectensteinian composer and teacher of the organ
• Calixa Lavallée (1842-1891), Canadian composer best known for the national anthem "O Canada," wrote many operettas and was a contemporary of Sir Arthur Sullivan
• Karl Michael Ziehrer (1843-1922), Austrian composer and military bandmaster
• Luigi Denza (1846-1922), Italian composer of Funiculì, Funiculà
• Robert Fuchs (1847-1927), Austrian composer and teacher, taught Sibelius, Wolf, Mahler, Melartin, among others
• Agathe Backer Grøndahl (1847-1907), Norwegian composer and pianist, contemporary of Edvard Grieg
• Zdeněk Fibich (1850-1900), Czech composer of chamber music, symphonic poems, and operas
• Xaver Scharwenka (1850-1924), Polish-German composer, pianist, and teacher
• Aleksandr Taneyev (1850-1918), Russian nationalist composer
• Francisco Tárrega (1852-1909), Spanish composer who wrote many works for guitar
• George Whitefield Chadwick (1854-1931), little known today, but one of the first significant American composers
• Julius Röntgen (1855-1932), German-born, later Dutch composer of the school of Brahms: wrote over 600 works in all the classical forms
• Anatoly Konstantinovich Lyadov (1855-1914), Russian nationalist composer
• Giuseppe Martucci (1856-1909), Italian composer, conductor and pianist, teacher of Respighi, early advocate of Wagner in Italy who however composed almost entirely instrumental music
• Sergei Taneyev (1856-1915), Russian, oriented towards classical forms and the central European tradition
• Eugène Ysaÿe (1858-1931), Belgian virtuoso violinist and composer
• Hans Rott (1858-1884), Viennese composer, studied organ with Anton Bruckner
• Mikhail Ippolitov-Ivanov (1859-1935), Russian composer noted for his orchestral suite Caucasian Sketches
• Ignacy Jan Paderewski (1860-1941), Polish composer and pianist, also a politian and onetime Prime Minister of Poland
• Anton Arensky (1861-1906), Russian composer, and a teacher of Rachmaninoff among others. His first piano trio and Variations on a Theme of Tchaikovsky (arranged from the second of his string quartets) are most often played presently.
• Edward German (1862-1936), English composer known for his comic opera and light music
• Henry Holden Huss (1862-1953), American composer, pianist, and music teacher
• Emil von Sauer (1862-1942), German composer for the piano, also wrote lieder
• Horatio Parker (1863-1919), American composer, highly regarded in the late 19th century
• Felix Weingartner (1863-1942), Austrian conductor, composer, and pianist, wrote seven symphonies
• Alexander Gretchaninov (1864-1956), Russian composer, wrote five symphonies
• Joseph Guy Ropartz (1864-1955), French composer, wrote symphonies, violin sonatas, and cello sonatas
• Albéric Magnard (1865-1914), French composer similar in style to Anton Bruckner
• Vasily Kalinnikov (1866-1901), Russian, composed two symphonies and other works influenced by folk music
• Amy Beach (1867-1944), American, the leading female composer of her time
• Hamish MacCunn (1868-1916), Scottish composer, noted for the overture The Land of the Mountain and the Flood
• John Blackwood McEwen (1868-1948), Scottish composer, known for his tone poems and symphonies
• Guillaume Lekeu (1870-1894), Belgian/Walloon, best known for his violin sonata (1892-3)
• Zygmunt Stojowski (1870-1946), Polish composer and pianist, student of Ignacy Jan Paderewski
• Oscar Straus (1870-1954), Austrian operetta composer known for Ein Walzertraum (A Waltz Dream) and The Chocolate Soldier
• Louis Vierne (1870-1937), French organist and composer
• Hugo Alfvén (1872-1960), Swedish composer, conductor, and violinist
• Paul Juon (1872-1940), Russian-born though much-travelled composer with a large output of chamber works and lieder especially
• Josef Suk (1874-1935), Czech composer and violinist
• Franco Alfano (1875-1954), Italian opera composer, known for Cyrano de Bergerac
• Erkki Melartin (1875-1937), Finnish composer, pupil of Robert Fuchs, whose six symphonies show the influence of Mahler and Sibelius (and in the vocalise of the fourth, also of Nielsen)
• Donald Francis Tovey (1875-1940), British composer, pianist, musical analyst, and musicologist
• Mieczysław Karłowicz (1876-1909), Polish composer
• Ernest Schelling (1876-1939), American composer, conductor, and pianist
• Sergei Bortkiewicz (1877-1952), Russian composer and pianist
• Ernő Dohnányi (1877-1960), Hungarian composer, influenced by Hungarian folk music as well as the work of Johannes Brahms
• Isidor Bajić (1878-1915), Serbian composer influenced by folk music from his native land
• Joseph Canteloube (1879-1957), French composer best known for his Songs of the Auvergne
• Othmar Schoeck (1886-1957), Swiss composer of lieder and song cycles
• Kurt Atterberg (1887-1974), Swedish composer, noted for his symphonies, ballets, and operas
• Grigoraş Dinicu (1889-1949), Romanian composer best known for his violin showpiece Hora staccato

What?

All the other period composer lists contain redlinks and not-so-terribly famous composers. I think the lists should be exhaustive of composers who are notable enough to be on Wikipedia. If you want to make a separate "standard repertoire" list, I think it should be done on another page. Mak (talk) 02:43, 27 October 2006 (UTC)

• This was an uncompleted project by me in the summer. My sources were ridiculed by User:Musikfabrik and I basically stopped the project. I really wouldn't care if this page were completely re-done, although I don't see how your solution would be any different than a category. Then again, we could just merge this list into the category... Dafoeberezin3494 02:48, 27 October 2006 (UTC)

Well, part of the point of lists is that they can contain redlinks. Which, to be honest, I am adding now, since I'm trying to get broader exposure for women in music, it's actually part of my work on the List of female composers. Which I was sort of goaded into by Musikfabrik, strangely. I think perhaps the list in its current incarnation should be moved to a more clear title, which reflects that it's reflecting the standard repertory, and have a fuller list under this title. Mak (talk) 02:52, 27 October 2006 (UTC)

I removed the notice about the standard repertoire lists. Feel free to do anything you wish to this page, maybe you could put the composers listed above back on it? The only thing I would really like to see is that they are annotated (making them more useful than a category!) Dafoeberezin3494 03:23, 27 October 2006 (UTC)

The list in its actual form is a joke! Why are there so many obscure composers included? The removed composers on this talk site are much more famous, than the most of the "red" ones in the list itself. The removed should be re-integrated and the number of "reds" in the list should decrease. -- Wikipedian from Germany, 4 March 2007 —The preceding unsigned comment was added by 141.54.164.112 (talk) 13:16, 4 March 2007 (UTC).

This article is virtually useless, as it contains so much clutter. No matter how cruel it may seem there is no point in including every person who wrote music during the time-period; anymore than including every person who kept a diary during the 19th century in an article on 19th Century Authors. The comment above alleging the necessity of raising consciousness of female authors seems even more pointless since the works of the unknown ones will never be listened to. A good cut-off point would be that it might reasonably be supposed that a composer be known by name to anyone with a moderate non-musical education.

Is this supposed to be a list of all romantic composers or just relatively famous romantic composers? If this list is supposed to include all romantic composers, I would recommend re-integrating all the deleted composers. If this is just supposed to be the most famous romantic composers, I would advise deleting all the red women composers and re-integrating some of the more famous deleted romantic composers (such as Rubenstein and Suk). Who ever heard of Augusta Browne or Maria Lindsay? Either way, I think some of the deleted composers should be re-included in the main article. --24.125.2.22 18:39, 17 May 2007 (UTC)

I came across this page while going through recent changes. I believe it would be close to impossible to have an absolutely complete list. It might be better to start with famous/important/notable whatever it could be called, and leave redlinks for later. All redlink names and names which seem to be notable but don't have WP articles can always be added later. At the very least, we could create stubs for them and with proper refs state a few lines about which compositions they are best remembered for.

Either way, as a continous work in progress and due to the sheer number of names involved, I believe it is impossible to make this an exhaustive list. We should limit it to notable individuals with existing WP articles. A work-in-progress list of other composers can be put on this talk page. A new articles are created, they could be linked in.

Best regards,xC | ☎ 18:44, 17 May 2007 (UTC)

Time-period subdivisions problematic

I feel there is a problem with the way this list is subdivided with respect to time. Certainly there were early, middle and late (and even proto- and post-) romantic periods, but the sharp time-divisions in this list mean that a composer like Mussorgsky - whose music foreshadows many innovations of 20th century music - is placed in the middle period, which tends to suggest that his music was less harmonically/rhythmically experimental than it actually is. A similar argument could be made for César Franck, whose harmonic language is (as the article on him states) 'prototypically late Romantic', and even Bruckner, much of whose mature and most characteristic music was composed after the mid-1870s. Furthermore, there are composers whose musical output spans all three Romantic 'eras', such as Liszt. Perhaps this problem could be (partially?) solved by organizing the list around an approximate/fuzzy time-period division (early, middle - or perhaps 'mature' - and late) rather than on blunt birth dates. 90.205.92.54 (talk) 23:45, 27 January 2008 (UTC)

Tom Nunez

Noted for his work on magical weapons for use against the Germans in world war 2. While working on his unmatched musical talent, he also invented the telephone, the wheel and fire.

For further information visit his website at www.cbeebiesfun.com —Preceding unsigned comment added by Lucky Larry and Son (talk • contribs) 08:23, 12 June 2008 (UTC)

Title changes

I think the title needs to be "List of romantic-era composers", because there is no such thing as a composer of eras.--AppleJordan (talk) 18:18, 16 July 2008 (UTC)

Tom Nunez

Noted for his work on magical weapons for use against the Germans in world war 2. While working on his unmatched musical talent, he also invented the telephone, the wheel and fire.

For further information visit his website at www.cbeebiesfun.com —Preceding unsigned comment added by Lucky Larry and Son (talk • contribs) 08:23, 12 June 2008 (UTC)

Title changes

I think the title needs to be "List of romantic-era composers", because there is no such thing as a composer of eras.--AppleJordan (talk) 18:18, 16 July 2008 (UTC)

Romantic era/20th century transition composers (born 1860-1880)/Is this necessary?

I have doubts about including this section in the list. What is the purpose? Is it to include every composer who ever had any connection with romanticism? Is it to confirm some kind of conservative school teacher's view that everything worthwhile in 20th century belongs in some way or other to the late Romantic, or that anything which is not actually atonal is influenced by romanticism? Or is this just an example of list-creep? --Kleinzach 23:23, 15 May 2009 (UTC)

With respect, my view is just the opposite. I was thinking the article needed a "born after 1880" section. Isn't the point of the article to document the participants in the romantic movement? Why should someone suddenly fail to qualify just beacause they were born on January 1, 1860 rather than December 31, 1859, and the same goes for 1880 and 1881. The first decades of the 20th century were dominated by romanticism. Were Riccardo Zandonai and Erich Wolfgang Korngold not composers of the romantic era? They wrote romantic music contemporaneous with the music of Puccini, who was born in 1858, and would thus be on the list by any standard! And if they don't belong on this list, what list would they then belong on? A list of "20th century composers" along with Nono and Boulez? The simple, if utterly unmeaningful solution would be to organize the lists strictly by date, eliminating all contraversy. But if the romantic era is to be chronicalled, I can't see any reason for arbitrarily excluding the end of it. Museslave (talk) 02:31, 23 December 2009 (UTC)

Museslave: "The first decades of the 20th century were dominated by romanticism. " I couldn't disagree more. The early 20th century was a period of experimentation with music going in all kinds of directions. Maybe other people have opinions on this? --Kleinzach 13:50, 23 December 2009 (UTC)

Any more thoughts about this section? Time to remove it? --Kleinzach 00:25, 9 June 2010 (UTC)

Definitely worth keeping as it includes some key composers in the Romantic tradition. I wonder whether the title is misleading? I suggest "20th century Romantic composers" and removing those like Debussy whom I regard as anything but Romantic. Galltywenallt (talk) 22:03, 18 March 2013 (UTC)

Sergei Rachmaninoff

Was Rachmaninoff (1873-1943) not one of the most important proponents of romanticism? —Preceding unsigned comment added by 128.138.64.56 (talk) 06:04, 5 November 2009 (UTC)

Not in my view. Wrong era. --Kleinzach 06:30, 5 November 2009 (UTC)

A more conventional view is that Rachmaninoff, with Medtner, represents the last flowering of Russian romanticism, continuing a tradition started by Glinka. Rach was largely dismissed by the critics during his lifetime, but has proved so enduringly popular that he has to be considered a key figure for this reason alone. He and (especially) Medtner were both against the "modernism" practised by their contemporaries. I would say they were proponents of traditional "classical" values pertaining to melody and harmony rather than proponents of romanticism, though. Galltywenallt (talk) 21:58, 18 March 2013 (UTC)

Stravinski?

Nei1 (talk) 19:56, 19 November 2010 (UTC)