Changes

*The symphonic poem – or tone poem – made use of the new freedom from adherence to form to paint a musical picture or tell a story.  

*The symphonic poem – or tone poem – made use of the new freedom from adherence to form to paint a musical picture or tell a story.  

* The concert overture became an entity outside the drama stage. (There is blurring here between the concert overture and the tone poem – often it is depends on what the composer called it. Example: Mendelssohn wrote his overture to “[[''A Midsummer Night’s Dream'']]” as a concert overture many years before he was commissioned to write incidental music for the play. It is a tone poem – listen to the constant fluttering of fairy wings. Mendelssohn wrote the “''Hebrides'' Overture” after a tour of Scotland. Also known as “''Fingal’s Cave''”, it is one of the great musical depictions of the sea.)

* The concert overture became an entity outside the drama stage. (There is blurring here between the concert overture and the tone poem – often it is depends on what the composer called it. Example: Mendelssohn wrote his overture to “[[''A Midsummer Night’s Dream'']]” as a concert overture many years before he was commissioned to write incidental music for the play. It is a tone poem – listen to the constant fluttering of fairy wings. Mendelssohn wrote the “''Hebrides'' Overture” after a tour of Scotland. Also known as “''Fingal’s Cave''”, it is one of the great musical depictions of the sea.)

* The instrumental miniature – a stand alone piece (though frequently written in sets) such as the [[John Field]] and [[Chopin]] [[nocturne]]s for [[piano]], the hundreds of short pieces by [[Franz Liszt]], short “''romances''”, “''fantasies''”, “''capriccios''”, “''intermezzos''” etc. such as those of [[Brahms]] and the “''koncertstüche''” for various instruments on various themes by [[Robert Schumann]].

* The instrumental miniature – a stand-alone piece (though frequently written in sets) such as the [[John Field]] and [[Chopin]] [[nocturne]]s for [[piano]], the hundreds of short pieces by [[Franz Liszt]], short “''romances''”, “''fantasies''”, “''capriccios''”, “''intermezzos''” etc. such as those of [[Brahms]] and the “''koncertstüche''” for various instruments on various themes by [[Robert Schumann]].

* The rise of the cult of the virtuoso, starting with [[Paganini]] and [[Chopin]], and famously exemplified by the life and music of [[Franz Liszt]], where the music seemed a slave of the performer – indeed frequently written to showcase the ability of the performer. The virtuoso pianists and violinists of the 19th and early 20th centuries were given a status comparable with the most popular “rock bands” today.

* The rise of the cult of the virtuoso, starting with [[Paganini]] and [[Chopin]], and famously exemplified by the life and music of [[Franz Liszt]], where the music seemed a slave of the performer – indeed frequently written to showcase the ability of the performer. The virtuoso pianists and violinists of the 19th and early 20th centuries were given a status comparable with the most popular “rock bands” today.

*A search for national identity began, beginning in opera and other vocal works, culminating in the music dramas of [[Richard Wagner]], but also featuring a rise in recognisably national schools and later, recognition of national folk-musical traditions and the need for their continuance.  

*A search for national identity began, beginning in opera and other vocal works, culminating in the music dramas of [[Richard Wagner]], but also featuring a rise in recognisably national schools and later, recognition of national folk-musical traditions and the need for their continuance.