German Romanticism (German: Deutsche Romantik) was the dominant intellectual movement of German-speaking countries in the late 18th and early 19th centuries, influencing philosophy, aesthetics, literature, and criticism. Compared to English Romanticism, the German variety developed relatively early, and, in the opening years, coincided with Weimar Classicism (1772–1805).
The early German Romantics strove to create a new synthesis of art, philosophy, and science, by viewing the Middle Ages as a simpler period of integrated culture; however, the German Romantics became aware of the tenuousness of the cultural unity they sought.[3] Late-stage German Romanticism emphasized the tension between the daily world and the irrational and supernatural projections of creative genius. In particular, the critic Heinrich Heine criticized the tendency of the early German Romantics to look to the medieval past for a model of unity in art and society.[3]
Ludwig van Beethoven. In his earlier works, Beethoven was a Classicist in the traditions of Mozart and Haydn (his tutor), but his Middle Period, beginning with his third symphony (the 'Eroica'), bridges the worlds of Classical and Romantic music. Because Beethoven wrote some of his greatest music after he became totally deaf, he embodies the Romantic ideal of the tragic artist who defies all odds to conquer his own fate.[citation needed] His later works portray the triumph of the human spirit, most notably his 'Choral' Symphony No. 9; the stirring 'Ode to Joy' from this symphony has been adopted as the anthem of the European Union.[5]
Johannes Brahms. His works are cast in the formal moulds of Classicism; he had a profound reverence for Beethoven. Brahms was also attracted to the exoticism of Hungarian folk music, and used it in such pieces as his famous Hungarian Dances, the final movement of his Violin Concerto, and the 'Rondo alla zingarese' from his Piano Quartet No. 1, op. 25, in G minor.
Franz Liszt. Liszt was by nationality a Hungarian, but nevertheless he spent many years in Germany, and his first language was German. Credited as the inventor of the tone poem.[citation needed] In his old age, Liszt adopted a more dissonant, ominous flavour, characteristic works being 'la Lugubre Gondola' and 'Die Zelle in Nonnenwerth'—predating Impressionism and 20th-century atonality.
Felix Mendelssohn Bartholdy. A composer of the Early Romantic period, together with such figures as Schumann, Chopin and Liszt. One of the persons responsible for reviving interest in the somewhat neglected music of Johann Sebastian Bach.[citation needed]
Franz Schubert. His body of work consists mainly of song cycles and German Lieder set to poems by his contemporaries, many of which are among the most common repertoire in those categories performed today.
Robert Schumann. His works recall the nostalgia of lost childhood innocence, first love, and the magnificence of the German countryside.[citation needed] As an influential critic, he played a major role in discovering new talents, among them Chopin and Brahms.[citation needed]
Carl Maria von Weber. Perhaps the very first of Romantic musicians, if we exclude Beethoven, in the sense that Weber was the first major composer to emerge wholly as a product of the Romantic school, as contrasted with Beethoven, who had started off as a Classicist.[citation needed] The emotional intensity and supernatural, folklore-based themes in his operas presented a radical break from the Neoclassical traditions of that time.[citation needed]
^Siegfried Heit and Otto W. Johnston, "German Romanticism: An Ideological Response to Napoleon." Consortium on Revolutionary Europe 1750–1850: Proceedings (1980), Vol. 9, p187-197.
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Bowie, Andrew. From romanticism to critical theory: The philosophy of German literary theory (Psychology Press, 1997).
Breckman, Warren. "Introduction: A Revolution in Culture," in European Romanticism: A Brief History with Documents. Ed. W. Breckman. New York: Bedford/St Martin's, 2007.
Gossman, Lionel. "Making of a Romantic Icon: The Religious Context of Friedrich Overbeck's 'Italia und Germania.'" American Philosophical Society, 2007. ISBN0-87169-975-3.
Gossman, Lionel. "Orpheus Philologus: Bachofen versus Mommsen on the Study of Antiquity." American Philosophical Society Transactions, 1983. ISBN1-4223-7467-X.
Grewe, Cordula. Painting the Sacred in the Age of German Romanticism. Aldershot: Ashgate Books, 2009.[1]
Johnston, Catherine, et al. Baltic Light: Early Open-Air Painting in Denmark and North Germany. New Haven and London: Yale University Press, 1999. ISBN0-300-08166-9.
Lacoue-Labarthe, Philippe, and Jean-Luc Nancy. The literary absolute: the theory of literature in German romanticism (SUNY Press, 1988).
Nassar, Dalia. The Romantic Absolute: Being and Knowing in Early German Romantic Philosophy, 1795–1804 (U of Chicago Press, 2013).
Steigerwald, Joan, and J. Fairbairn. "The cultural enframing of nature: environmental histories during the early German romantic period." Environment and History 6.4 (2000): 451–496. online
Stone, Alison. "Alienation from nature and early German romanticism." Ethical Theory and Moral Practice 17.1 (2014): 41–54. online
Stone, Alison. Nature, Ethics and Gender in German Romanticism and Idealism (Rowman & Littlefield, 2018).
Vaughan, William. German Romantic Painting. New Haven and London: Yale University Press, 1980. ISBN0-300-02387-1.
