Post-romanticism or Postromanticism refers to a range of cultural endeavors and attitudes emerging in the late nineteenth and early twentieth centuries, after the period of Romanticism.
Herman Melville and Thomas Carlyle are post-Romantic writers. Flaubert's Madame Bovary is a post-Romantic novel. The period of post-romanticism in poetry is defined as the late nineteenth century, but includes the poetry of Letitia Elizabeth Landon and Tennyson.
Post-Romanticism in musicEdit
Post-romanticism in music referred to Romantic composers who would use forms that were found typically in the Classical and Baroque while still retaining aspects of the Romantic era. Among the most well known post-Romantic composers are Giacomo Puccini and Sergei Rachmaninov. Arthur Berger describes the mysticism of La Jeune France as post-Romanticism rather than neo-Romanticism. Hans Pfitzner also wrote post-Romantic works such as his opera Palestrina.
Quite unlike late Romantic composers such as Richard Strauss and Alexander Scriabin, the composers of the Post-Romantic created music that would use either or both traditional form and harmony. Béla Bartók, for example, "in such Strauss-influenced works as Duke Bluebeard's Castle," may be described as having still used "dissonance ['such intervals as fourths and sevenths'] for purposes of post-Romantic expression, not simply [always] as an appeal to the primal art of sound"—unlike Arnold Schoenberg and Strauss himself, who both believed in "a mythology of historical progress in Western music".
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