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Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism —the intellectual, artistic, and literary movement that became prominent in Western culture from about 1798 ...
The Romantic era of Western Classical music spanned the 19th century to the early 20th century, encompassing a variety of musical styles and techniques. Part of the broader Romanticism movement of Europe, Ludwig van Beethoven, Gioachino Rossini and Franz Schubert are often seen as the dominant transitional figures composers from the preceding Classical era.
In British and American music examples of orchestral song cycles include Britten's cycles Nocturne (1958) Les Illuminations and Our Hunting Fathers. Ralph Vaughan Williams contributed the orchestration of his On Wenlock Edge, originally for voice, piano and optional string quartet.
Film music historian Timothy Schuerer wrote, "The elements of post (late) romantic music that had greatest impact on scoring are its lush sound, expanded harmonic language, chromaticism, use of program music and use of Leitmotifs. Hollywood composers found the post-romantic idiom compatible with their efforts in scoring film". [48]
Josef Paul Labor (29 June 1842 – 26 April 1924) was an Austrian pianist, organist, and composer of the late Romantic era. Labor was an influential music teacher. As a friend of some key figures in Vienna, his importance was enhanced.
Post-romanticism in music refers to composers who wrote classical symphonies, operas, and songs in transitional style that constituted a blend of late romantic and early modernist musical languages. Arthur Berger described the mysticism of La Jeune France as post-Romanticism rather than neo-Romanticism .
In music such works from after about 1850 are referred to by some writers as "Late Romantic" and by others as "Neoromantic" or "Postromantic", but other fields do not usually use these terms; in English literature and painting the convenient term "Victorian" avoids having to characterise the period further.
A basic rhythmic unit, instead of becoming the foundation of an expansive Romantic melody, now becomes a stark end-product in itself. Throughout the late works, there is a freer, almost improvisatory use of melody, yet one derived from the tightest structural cells Liszt could conceive. [5]