Symphony no. 6 in B minor, op. 74 / Capriccio Italien, op. 45

Late Romantic music refers to the final flowering of 19th‑century Romanticism, roughly from the 1870s to the early 1910s. It is marked by expansive forms, heightened expressivity, and a push toward the limits of tonal harmony and orchestral color. Characteristic sounds include long‑spun, soaring melodies; rich, chromatic harmonies that frequently delay or blur cadences; and sumptuous orchestration with enlarged brass, winds, strings, and expanded percussion, plus coloristic additions such as harp, celesta, and organ. Programmatic content (narrative or pictorial ideas), leitmotivic technique (recurring thematic identifiers), and a taste for the monumental (grand symphonies, tone poems, and operas) are all hallmarks. Aesthetically, the style embraces emotional intensity—from intimate lyrical tenderness to apocalyptic grandeur—and often fuses national idioms with a pan‑European, Wagner‑ and Liszt‑inflected harmonic language. In pushing tonality to its breaking point, Late Romanticism paved the way for Post‑Romanticism, Impressionism, and early Modernism.