Which Previous Composer Left a Mark in the Nineteenth Century From a Musical Point of View?

An interesting and intriguing question... I want to mention Bach because many Romantics showed great interest in counterpoint and therefore, thinking of Brahms or Mendelssohn (but also Schumann), they certainly turned to the great Master.

I also think that Bach's influence lasted through the 1900s and continues even today, in the twenty-first century

Besides, we have just read, indeed, Frank's topic on breakdance ....and certain arrangements of the WTC

Surely romantic poetics have been heavily influenced by the overwhelming model produced by the work of Beethoven, which truly marked a turning point in aesthetic conception, poetics and the use of musical instruments (not only the orchestra, but also our piano). Wagner, for example, considered the reference to Beethoven fundamental in the construction of his musical conception, which in a certain sense represents a great synthesis of the major themes of German Romanticism.

But, on the other hand, the figure and art of Mozart have progressively acquired a mythical aura, which led to envisioning his model as an example of lost and now unreachable happiness. Mozart as the icon of that serenity and joy of living, which the Romantics saw ideally represented in a lost era. At the same time, the other side of Mozart was also progressively highlighted: the pre-romantic, the precursor to unrest and destabilization (the Symphony in G minor, the Requiem).

A third fundamental reference is surely Bach: the great polyphony, profound thought, superb architectures: from Mendelssohn onwards, passing through Schumann and arriving again at Wagner, this too is a fundamental reference for Romantic composers.

Question, but wasn't Bach forgotten... how did he manage to leave his mark?

Counterpoint was also used by Mozart, see the masses, Jupiter, etc.

Exit wrote:

I would be interested to know your opinion on the matter in question; in your view, which previous composer left a mark on the nineteenth century from a musical point of view?

Many argue for Beethoven, but I would like to point out Mozart... what do you think? In this case, I wouldn't want to be influenced by my passion for Mozart.

The question to ask oneself would be, in my opinion, which composer has *not* left a mark?

Bach, Mozart, Haydn, Beethoven left an indelible mark on the Romantics (though they influenced each other immensely), who in turn left a mark on the late Romantics (Brahms, Wagner, Bruckner...), who left a mark on the post-Romantics (Mahler etc.), and then came the Neoclassicists and so on... and, a question: was Bach born that way? Who had an indelible influence on him? And, going backwards, to infinity... there is no single name alone.

Lucas wrote:

Mozart also used counterpoint, see the masses, Jupiter, etc.

Eh yeah: who knows from whom he learned it...

Carlos wrote:

Oh yes: who knows from whom they learned it...

Father Martini or Bach? :D

Carlos's list and anyway the names mentioned leave no escape for my beloved Handel... how did they position themselves towards him in the distant '800?

Annuccia wrote:

Carlos's list and anyway the names mentioned leave no escape for my beloved Handel... how did they behave towards him back in the distant '800?

I don't know ...

I'll just throw it out there, Bach for counterpoint, Beethoven for form and symphonism... Mozart ... ? ...

Maestrofredda seemed too poetic to me regarding M. ...

Marzapane wrote:

Padre Martini or Bach? :D

I would say both, and more: I wanted to say that nothing in music is born from nothing (at least until a certain era of the 20th century, and anyway it is something that should be discussed) and that finding "the" composer to whom the '900s [20th century] should be considered most indebted is an operation that I believe is wrong. One listens, for example, to a Steve Reich CD and then puts Perotino in the player and... well: many things become clear!

Seeing the music of Mozart mentioned, I would say Bach; does anyone know any pieces by Padre Martini?

I would give more credit to the teachers, and the good Salieri was a teacher of, for example, Beethoven, Schubert, Liszt, Meyerbeer, and Hummel; he was an important educator and founded the Vienna Conservatory. In reality, he also composed dozens of commissioned works and orchestral pieces. I think it is legitimate to believe, at least regarding the students he had, that he exported a bit of Italian instrumental culture to the Germans.

Therefore, in my opinion, we are talking about influences within the culture of the time; we certainly have a different sensibility and, above all, we were trained with a musical historiography that took certain things into account instead of others.