Concept
Neo-romanticism
Overview
The term neo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well as social movements, that exist after and incorporate elements from the era of Romanticism.
It has been used with reference to late-19th-century composers such as Richard Wagner particularly by Carl Dahlhaus who describes his music as "a late flowering of romanticism in a positivist age". He regards it as synonymous with "the age of Wagner", from about 1850 until 1890—the start of the era of modernism, whose leading early representatives were Richard Strauss and Gustav Mahler (Dahlhaus 1979, 98–99, 102, 105). It has been applied to writers, painters, and composers who rejected, abandoned, or opposed realism, naturalism, or avant-garde modernism at various points in time from about 1840 down to the present.
Overview adapted from Wikipedia (CC BY-SA 4.0; see the article history for authors).
Possible passages
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In particular, Wagner from that time onwards (and this is the volte-face which alienates us the most) had no scruples about changing his judgment concerning the value and position of music itself. What did he care if up to that time he had made of music a means, a medium, a "woman," that in order to thrive needed an end, a man--that is, the drama?
Friedrich Wilhelm Nietzsche, The Genealogy of Morals The Complete Works, Volume Thirteen, edited by Dr. Oscar Levy.
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Or Marschner's "Hans Heiling" and "Vampyre"! Or even Wagner's "Tannhauser"! That is extinct, although not yet forgotten music. This whole music of Romanticism, besides, was not noble enough, was not musical enough, to maintain its position anywhere but in the theatre and before the masses; from the beginning it was second-rate music, which was little thought of by genuine musicians. It was different with Felix…
Friedrich Wilhelm Nietzsche, Beyond Good and Evil
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Music is as _direct_ an objectification and copy of the whole _will_ as the world itself, nay, even as the Ideas, whose multiplied manifestation constitutes the world of individual things. Music is thus by no means like the other arts, the copy of the Ideas, but the _copy of the will itself_, whose objectivity the Ideas are. This is why the effect of music is so much more powerful and penetrating than that of the…
Arthur Schopenhauer, The World as Will and Idea
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Related ideas
- Friedrich Nietzsche
- Philosophy
- Knut Hamsun
- Materialism
- Modernism
- Realism (arts)
- Aesthetics
- Portugal
- Pablo Picasso
- Romanticism
- Lewis Carroll
- Indian literature
- Arthur Schopenhauer
- Avant-garde
- Artistic symbol
- Arabic
- Samuel Palmer
Place in the tradition
Part of Romanticism.