Changes

*The rise of the [[song cycle]]. Whilst the performance of a set of songs of the same style and theme sung together, had been known since the 17th century, the onset of the romantic era and the popularity of song brought about a flowering of this form. The three great cycles of Schubert and the two of Schumann are particularly notable.

*The rise of the [[song cycle]]. Whilst the performance of a set of songs of the same style and theme sung together, had been known since the 17th century, the onset of the romantic era and the popularity of song brought about a flowering of this form. The three great cycles of Schubert and the two of Schumann are particularly notable.

*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.