Answer:
With regard to the performance of choral music, a few points should be noted. Romantic composers tended to write out exactly what they wanted in the way of dynamics, tempo, and expression. A problem in performance practice related to the Romantic period is found in Romantic editions of earlier music. Such editions tend to include many expressive markings that were never intended by the composer. Any edition of music written before 1750 that contains dynamic, tempo, and expressive markings not clearly identified as editorial is suspect.
Explanation:
The Romantic period began with the second quarter of the nineteenth century. It should be noted, however, that throughout the history of music there has been a tension between the Classical and Romantic views of life and art. Objectivity versus subjectivity, form versus freedom, and individuality versus universality are issues that composers and other artists have confronted in every age. Romantic tendencies were evident in the music of all three of the preeminent Viennese classical composers (particularly Mozart and Beethoven), and by the end of Beethoven's career, the romantic spirit was firmly entrenched in Europe, remaining the dominant force in music until the beginning of the twentieth century.
