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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 .
Opera North: history and repertoire, seasons 1990–91 to 1996–97; Opera North: history and repertoire, seasons 1997–98 to 2003–04; Opera North: history and repertoire, seasons 2004–05 to present; Repertoire of Plácido Domingo; Repertory of the Vienna Court Opera under Gustav Mahler; Salzburg Festival: history and repertoire, 1922–1926
Edward Alexander MacDowell (December 18, 1860 [1] – January 23, 1908) was an American composer and pianist of the late Romantic period. He was best known for his second piano concerto and his piano suites Woodland Sketches, Sea Pieces and New England Idylls. Woodland Sketches includes his most popular short piece, "To a Wild Rose".
3 Romantic era. 4 Modern/contemporary. ... (by year of birth) of American composers of classical music. Baroque ... John Wesley Work III (1901–1967)
Many composers reacted to the Post-Romantic and Impressionist styles and moved in different directions. An important moment in defining the course of music throughout the century was the widespread break with traditional tonality, effected in diverse ways by different composers in the first decade of the century. [ 2 ]
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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.
Arnold Schoenberg or Schönberg [a] (13 September 1874 – 13 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motives as a means of coherence.