**3. Conclusions**

Berlioz (1830) makes up an incipit of this tendency. It was followed throughout the twentieth century by other creations adjusted to other genres, original architectures of Romanticism.

Proceedings of the International Conference on Interdisciplinary Studies (ICIS 2016) - Interdisciplinarity and Creativity

The symphonic poem is the most important among those works and What is Heard on the Mountain (1849) by F. Liszt, after V. Hugo, became the genre's pattern. It has an obvious logic, being designed for symphony orchestra in an extensive display, in a single part which may include several sections, shaped, however, after different types of lied, sonata and rondo or in composite form. The melodic naturalness and harmonic richness are characteristics of those works which "the composers of Central Europe and Russia would practice in order to praise the native land and its originality, in relation to the established musical powers (Italy, Germany

Researching the wide range of Romantic genre creation we mention a few important titles: Mazeppa, Preludes, Hungaria by F. Liszt, Night on the Bald Mountain by M. Musorgski, the cycle My Fatherland by B. Smetana, The Sorcerer's Wizzard Apprentice by P. Dukas, The Sea by C. Debussy, Don Juan, Till Eulenspiegel, Thus Spoke Zarathustra by R. Strauss, etc.

The Romantic Opera becomes the Romantic drama, the national opera. The genre of lyrical theatre remains prominent in the creation of Romantic composers through its complexity and the complementarity of aspects with regards to music, literature, scenography, choreography and makeup. This genre, designed according to the Baroque pattern, includes the overture, two–three or four acts, soloist moments, choral and ensemble moments with soloists, choir and orchestra, follows the stylistic adjusted on the modulating and transforming stages of this orientation: early Romanticism, middle Romanticism, the first blossoming of national schools and late Romanticism. Thus, we shall gradually emphasize the emergence of several interpre‐ tation styles in this composite orientation, the musical Romanticism. The large concerto range is the pivot of the show, the extension of that of Baroque Aria da Capo. The recitative, constant in the first period, would undertake alterations, being amplified from secco to espressivo

recitative, when the orchestral development would achieve an additional stage.

sustained by the presence of dramatic timbre.

The first stage, that of the seraphic and translucid Carl Maria von Weber (Freischütz, Eur‐ yanthe, Oberon), amplifies the genre of German lied through orchestration and vocality. In Italy of the same period, the triad G. Rossini, V. Bellini and G. Donizetti makes proof of the craftsmanship of bel canto, the technique of vocal agility and virtuosity, which overshadows the importance of text through cavalcades. A few achievements of the time become unique moments, a combination between ideal, expressiveness, virtuosity, cheerfulness and lyrism: The Barber of Seville, Cinderella (G. Rossini), The Elixir of Love, The Daughter of The Regiment (G. Donizetti), Norma, The Puritans (V. Bellini). The era of G. Verdi would mean engaging on a track of musicality, lyrism, of high-pitched female and male voices, of the subtle capitaliza‐ tion of Italic melody and rhythm. It was the undertaking of another stage that of the vocality

"The dramatic soprano—whose richly nuanced Italian type is entirely the result of the Romantic theatre—dominates the famous musical scores, from Norma by Bellini to Leonora from The Power of Destiny, Aida or Desdemona from Othello by Verdi" [7]. The deliberate

and France)" [7].

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The congruence between elements of Romantic language and architecture is obvious.

The stylistic quests of both converge towards the unveiling of creativity, through languages with additional visual and audible spectacularity and the willingness to appreciate and capitalize a certain part of the past. The lyrical theatre, the most important and majestic genre of Romanticism and the Romantic symphony, the symphonic poem, the lied and the genres and miniature forms construct the uneven, yet fiery image of Romanticism. The vocality, the art of vocal sustaining in the generous dimension of the lyrical theatre, the instrumental virtuosity, the timbrality and agogics in symphonism are language elements proving the spark of genius of the Romantic creators, namely, the gradual waiver of symmetries and consonances in favour of the unsymmetrical melodic arch forms, of the harmonic capriciousness by inflaming chromatic scales.

The gradual abandonment of the decorative and demonstrative art of the bel-canto of Classicist patterns is akin to the Realism in architecture, more prominent and persistent with the passing of nineteenth century decades. The tension of librettos, with obvious psychological connota‐ tions, marked by the expansion of vocality is congruent with rational directions in architecture which bypass and occult the balanced and symmetrical beauty, suggesting atypical, slightly abstract volumes. Traditional materials are added by unconventional ones for that period, such as glass and metal. The accumulated science overlapped on the overflowing creativity initiated the expansion at the end of nineteenth century, when the Romantic architecture would promote the eclectic style that of regrouping some elements, symbols of past aesthetics, on the burning dimension of nineteenth century aesthetics. It is the period when the South-Eastern European cultures mature and express in their own language, accessing that folkloric heritage, symbols and archetypes. The blossoming of national cultures was the certain manner of an artistic expression of essences, both in music and architecture.
