Gustav Mahler - Symphony No. 10 "Adagio" | Vienna Philharmonic, Leonard Bernstein [HD]
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- Опубліковано 30 лис 2014
- Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein.
Movements
00:00 I Adagio
Incomplete movements:
Scherzo (sketches)
Purgatorio (sketches)
Scherzo (sketches)
Finale (sketches)
Other Recordings:
Adagietto • Gustav Mahler - Adagie...
Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
Thank God for whoever saved this masterpiece from dying with the composer. Absolute masterpiece.
@@teacoffee42 Bruno Walter almost robbed us of this???
👍
Thanks to Barshai. He made it 👍
@@Polnaja_ovza this is the Cooke completion you halfwit
@@LOLERXP From what I remember, some incorrect report made him and someone else believe he wished for it to be destroyed.
0:45 beginning
2:04 theme
3:24 whimsical dissonance
5:20 return to theme
6:18 powerful theme
7:18 aggressively dissonant chord and theme
7:55 sneak peek
8:22 return to whimsical dissonance
10:00 riff on whimsical dissonance
10:30 somber
11:20 development of whimsical tune
12:50 whimsical climax
13:13 transition to theme
14:10 new kind of theme chord
14:38 corrupted whimsical dissonance
15:28 even more whimsical
16:15 minor theme
16:46 corrupted theme
17:12 triumph theme
17:26 foreboding
18:20 holy shit
18:50 whimsical and theme
19:02 HOLYSHIT
19:46 alls well that ends well?
21:36 epilogue
HOLYSHIT indeed!! :-D They call it the "Katastrophenakkord", the catastrophe chord. And it is wonderful..
Unbearable yearning, Excruciating emotional pain. Here Mahler bares his soul and reaches out to all of us to share the glory of what it means to be human. Extreme, shattering dissonance breaks the binding of the soul to flesh and envelops us in a transcendent embrace of Love.
Couldn't have said it better myself
U fucking right dude
gay
gay
Well said! Mahler is definitely POSTmodern!
I first heard this as a young boy growing up with pop music! I turned on the radio and heard this. It completely mesmerised me and I had to listen to it to the end. Afterwards I was desperately trying to figure out what this beautiful music was. And so my love for Mahler began.... ❤️
Well done but for me it was Tchaikovski. I too have great affection for Mahler.
Maybe never ends?
I love that our experience is almost identical
18:22 my god! Every time I hear this chord, I am just in complete chills. So haunting! I believe the reason why it is so haunting is because it was so light and delicate, yet unstable before. We slowly begin to lose sense of what key we’re in, and then boom! The G# Minor chord blasts towards us! This section is so freaking disturbing.
It's how Ken Russell's biopic fantasy film about Mahler starts. They built a replica of his composing hut, with birds tweeting and breezes gently blowing branches as the sun glistens on a glassy lake, when the hut bursts into flames and burns to the ground. Pretty epic begining, if you ask me.
20:31!!!
Its a tragedy that Bernstein never reconciled himself to the completions of this work, what he would have made of the final movement will sadly never be known.
This has become one of my favorite pieces now; I feel like in just 27 minutes I now understand the secrets of the human condition. I also love how at 19:46 the co-principal violist puts his hand on his mouth, as if after that horrifying climax we just experienced, he’s contemplating the deep mysteries of the universe. This is just a stunning performance, I hope it gets preserved for as long as humans live on the earth.
Spot on. It's the real deal.
I know it's not anything original to say, but for me Mahler is always about the beauty of the world. If you think about what he was going through when he wrote "Das Lied Von Der Erde," his consciousness of that beauty and his sense of wonder are abiding. What I think is so wrenching about this is that, while that beauty shines through again and again, he can't hold on to it. Those moments when he's lost sight of it and those moments when, having resurfaced, it slips away from him again, end up being some of the best music I know or can imagine.
Perhaps the most agonizing and excruciatingly heartbreaking piece in all music. Poor Mahler, you can feel his unbearable sorrow.
The chilean art theorist, filosopher, teacher and investigator Gaston Soublette established after making a deep "Musicsophycal" study of this work that the Addagio is in fact, a musical transcription from the first verse from the first chapter of the Old Testament, the Origin of Creation in the tradition of the Torah. He realized that the prosody of the biblical text matches with every note played on the addagio, and this observation was confirmed by the rabbi Gustavo Gad, from the Sinagoga in Av. Lyon, Santiago de Chile. This piece might be understood as a manifest, due Mahler asumed his Jew cultural heritage as a grown man, in spite of his convertion to catholism.
Greetings from Chile and sorry for any mistakes in my english
@@noisethrash Thanks a lot for this!!!
I never heard of this version regarding the story of this masterpiece.
The dissonance really hits you; it is difficult not to associate it with the realisation of Alma's infidelity, and his discovery of his heart condition.What truly moves me to tears is the phrase written on the autograph copy: Fur Dich leben/, fur Dich sterben/Almschi! (To live for you, to die for you, Almschi!).While it is tempting to see this music in a wider context, as the death of romanticism in music with the prospect of modernism and the horrors of the world war ahead, it is the personal element that convinces.
Exactly so, but there is a note of hope in there, too, as I think there always is with Mahler. Anyone who could have written Das Leid Von Der Erde the year his daughter died and he lost his job for being Jewish has really got to have something that he can hold on to. There is something about that suggests the modernism of the second Viennese School, but there is some jazz in there, too, and to me that is always the music of hope against (even utter) despair. I so like what you said that this music suggests (even creates) the end of Romanticism, it is the profoundly personal in everything Mahler does that makes me love it so very much. The only thing I don't like about Mahler is that he liked Bruckner's music.
Charles Rae8
@@tlj2600 I also agree with everything you said, but I just don´t understand how you say that the only thing you don´t like about Mahler is that he liked Bruckner´s music...... Since Mahler was indeed a fan and shared so many similar ideas that can be heard in their music why would you say such a thing? Now I´m curious......
Mahler was already aware of his cuckoldry by the time he wrote the 8th.
@@user-jb5sk7pc2m his ... sorry , what ?
When i am depressed I just listen to this music. It make me feel I'm glad to be alive.
The Ninth was Mahler's death statement. This was his attempt to break the Beethoven curse, which failed but now is completed. Fantastic work!
Ugh, the build up to the French horns around 7:20 - 7:30 is such a powerful moment.
Lenny expressed his soul to all of us through his performances of Mahler's music. His performance of the Adagio in Sym. Nr. 10 expresses his gentleness, love, compassion and humility.Cheers,Ken
i've always thought it was blasphemy to LOOK at an orchestra playing (because it DE-mystifies the OTHER-WORLDLY magic of classical music)......but THIS is the first one i've ever seen where i thought....you need to LOOK at this.
It's likeBernstein is doing MODERN DANCE.....under the (dis)guise of Classical Conductor!
Apart from this movement having the most highly chromatic harmonic vocabulary the composer ever investigated, it is like, zOMG, the density and brilliance of the many independent lines of counterpoint is astonishing. Simply tremendous.
Their mastery of musicianship and storytelling is breathtaking!! And the music will take your soul on a journey from the depths of despair to the summits of salvation. Muah, Mahler, muah!
25:33 never fails to make me feel the music in my bones
Marvelous! Last words of Mahler 18:20 This is his signature!
A General Guide to the Adagio - Part 1
‐----------------------
2:03 The theme seems to be love. Love is not the "theme" in itself, but it is the common thread of all the drama of life.
3:25 A short dance: evocation interrupted by a little screm (3:56 on a single note) of the strings.
4:08 The music suggests a first uninterrupted advance: but the development of the new theme ends after a few bars.
5:21 The first thread prevails. Suggested topics lag behind but will be back.
6:18 The sweetness of the strings, literally crushed by metal en fortissimo, denotes an aspect of love unknown to the composer up to that point: letting fate pass over him unopposed.
7:28 The beauty of this section is the most explicit thing that Mahler is going to expose, for the first time, in relation to his mistakes with the mystery of life. The trombones question the intention of this beautiful love song: facing destiny is a challenge for titans who know how to see their tremendous mistakes.
8:46 The strings play an equally beautiful but humble elegy: He is the titan, but forced to the silence, forced by the archons of fate to mature beyond his love.
11:49 The violin, the most personal voice of the soul in the purity of its solitude, is a short exclamation to its own Creator. 11:57 The orchestra's response seems to come from the Cosmos: more souls suffer like Mahler.
13:22 Mahler's soul (the strings) in tune with destiny (the trombones).
14:19 The lighting episode comes to an end. Mahler, or his soul, descends again. The divinity forces him to "live" his very human life.
14:33 In the original version left by Mahler, there is no wood or metal in this part accompanying the unfolding of the strings. The feeling of "absence" of the whole section, the nudity in the timbre, is the composer's attempt to show himself without veils. He has discovered love.
15:05 A love unrequited by anyone. Such a man needs the participation of a human being who serves as a chest for these intimate secrets: his wife Alma. Not everything in the symphony is for Alma. But without her we wouldn't have the Tenth Symphony. It doesn't matter if Alma deserves it or not.
All this peace and pain expressed with such mastery in the Tenth, is thanks to mistakes and, definitely, to the existence of Alma.
Bravo
Interessante, profondo, suggestioni che mi coinvolgono solo in parte. La mente ne è affascinata ma non riesce a commuovermi. Meravigliosa orchestra. Grandissimo Bernstein.
Such intimately expressed and performed music can't help but tug at the heart and core of anyone who truly listens. Utterly heartbreaking!
A masterpiece of a unique genius, Gustav Mahler...
Magnificent. You can listen this music over and over.
Stunning playing by legendary principal horn Roland Berger on his Vienna Horn in F.
So intense it's frightening.
I am reading his life story. Simply stunning and very sad at the same time.
I've never been crying for a symphony until today! What a masterpiece! It felt like I was in this poor dying man's room and all his loved ones were leaving him to despair, loneliness and death. And I couldn't go till the end.
IMPRESSIONANTE!! Stupenda Musica, gigantesco Direttore!! Una cosa sola!!! EMOZIONANTE, COMMMOVENTE, INTRIGANTE.... UNICO!!!
the mahler 10th first movement has some of the most beautiful, sublime, longing and tragedy laden music even penned by a mortal. i remember the first time i heard it hit me on such an emotional level i was reduced to tears...i still cant listen to it to much because i know it is the music of a very sick man who KNEW he was dying...and of course there will ever only be one berstein.....the liszt of this past century. my only regret is that berstein didn't extend the possible orchestration that could be done to further extend the approach to what further could be done with the piece.
IAjodah Seenarine
This recording dates from 1974 I think, so I'm pretty sure Bernstein would have been using the Universal Edition score, published in 1969. Cooke's version, published by Faber, was not issued until 1976.
Cooke orchestrated movements 2-5. This first movement was almost entirely completed by Mahler himself, with final touches added by Anna Mahler's (his daughter) husband, Ernst Krenek. Bernstein famously refused to play the Cooke completed symphony. Have a listen to it here on UA-cam, the final movement is some of the most beautiful music ever written by anyone.
Bernstein has nothing to do with Liszt, very weird comparison
I wonder what Alma thought
Too good, just too good. Humanity does not deserve to have it completed.
I may love rock and blues and all…but this performance of Mahler’s Adagio is in my top 10.
18:20 : such a terrifying moment. WoW. Pure despairation.
Uno degli adagi più belli. Che fa pensare e riflettere.
The chord at 14:18 is fantastic
A book on modern music Im reading for my freshman year musicology degree mentions an "eruption of a 10 note chord" at some point in this piece. Gonna guess thats the one they meant
@@KonStafylides 19:03 is what you might be looking for
I often ask myself what would Mahler have created had he lived some 20 more years? What path would he have follow after the Tenth in plain expressionst-WWI context?
Mahler and Lenny..they make life worth living...
The Tenth Symphony is such an ambitious work with a destiny decided only by the composer. All its enormous possibility had to stay, beating like an infinite promise, within uncrossed limits and accumulations left in suspense by Gustav Mahler. Still, the Tenth is one man's intimately personal evidence of his experience with life through the art of music. Indeed, Mahler's intention was to leave, in as many notes, the peculiarity of his own individual existence. Although various aspects of Mahler's human life bear resemblance to the lives of so many others, his approach to human existence and the power of Nature bears little resemblance, musically speaking, to the lives of millions. of men. For him, for Mahler, music is not a body of sounds cut off from the mystery of life. Music is not a mere sounding board for a feeling or a thought. The music should sound like it's ALL encompassing, in your own words. The ultimate essence of a special incarnation of life, of an exceptional man, must travel and unravel, sometimes explode, in every note, sometimes in a single chord or set of notes that must literally die to be reborn. That's what this first movement and the unorchestrated sketches we have left of the Tenth feel like.
MAGNIFICA INTERPRETACION DE LEONARD BERNSTEIN,ES UNA OBRA MONUMENTAL,THANKS VERY MUCH BERNSTEIN,GREETINGS FROM MÉXICO.
Undeniably one of the greatest symphonic "adagios" ever written, performed beautifully here by Bernstein and the Vienna Phil.
I don't think it's a good performance by Vienna phi.
some parts are great but for
example that F*** horn in 2:34 is the worst performance of this part in the all performances that I know!
It seems Bernstein didn't care.
Mahler & Bernstein, maravillosa conjunción..¡¡
Einfach nur herzzerreißend schön!
Introduction: 0:41
1st theme: 2:02
Climax: 18:20-19:46
19:15 I’m not gonna lie, a couple days ago, when I listened to this part with the dissonant screeching chord, it gave me nightmares (in a figurative sense). It gave me thanatophobia (the fear of one’s own passing) for those days, especially when knowing that poor Mahler composed that terrifying chord close to his death in knowledge not only of his impending doom, but also of his will-be widow, Alma engaging in a relationship with an architect, by the name of Walter Gropius. On the side, he wrote: “You alone know what it means! Farewell! Farewell! Farewell! To live for you! To die for you! Almschi (Mahler’s pet name for Alma)!” All of this had me thinking and fearing my mortality for a while, but I have made a slight recovery. Knowing the dynamics of his unfinished symphony really helps me get over my knowledge and fear of mortality. Still, that chord gets me. Until next time.
You left out the part where he forbade Alma, this Alma whom he lived and died for, to exhibit her considerable musical talents after they got married.
No one has conducted the symphonies of Mahler and performance them complitely as Bernstein during the seventies (old times isn't it) especially with the Orcquesta Vienna Philharmonic and London Symphony Orchestra. Bernstein had to be chosen according to Mahler prediction sixty years after his death.
Before Bernstein, isolated performances were played as Karajan with the the 4th and 5th ( Excelent versions also) . This version only includes only the original "Andante "score written by Mahler'hand.
I think the larger versions of the 10th produced by Deryck Cooke and Rudolf Barshay from 60 are the best. Although my preference is the version of Barshay because Tthe rest of the moyments sound more Mahlerians. This video performs a genius conducting to other genius.
+Jeremiah Salyer i think he always wondered about important compositions and thought to do great honor to them he arranged parts of the orchestra, soloists and chorus to amplify their importance so i guess he played the music for dramatic effect. he had the power of what they didn't have. great theatre, acoustics and players who were only getting better. also, the composers now had the recognition they deserved.
19:15 Le plus bel accord écrit par Gustav Mahler.
imagine sight-reading this... the key signature is cursed. SIX SHARPS
What I love about his, and again this is nothing original, is that it is one of the few times when there is a "disagreement" between the brass and the strings in Mahler's music. They sound less like they are having a dialogue and more like they are fighting with each other during the big horn solo. Mahler is definitely someone I wish had lived longer. I would loved to have seen what he would have done with the sense of everything falling apart that one gets so many times in this movement.
Je me perds dans la musique du grand Gustav toujours, mais avec sa dixième j'entre dans le paradis de mon cœur, seul et transformé en musique!
Mahler est le maître des Adagios et Bernstein son meilleur interpète
So true
Amen
So beautiful,Thank you very much
The section a 20:05 always gives me chills.
24:32 - 25:10 Can be put in a dictionary to define the word "Longing."
I love the chord in the 18:20. It's an incredible mix of feelings, sadness, anger, despair. Anyone knows if it's an Ab minor? I hear that chord
yeah it's an Ab minor that goes to a G major over Ab minor (because the strings were still playing the root note)
fa vi fllg
with those Strauss operas and Schoenberg symphonies floating around Vienna, Mahler then comes up with that unreal sound!
I think G# minor is more appropriate, since the piece is in F# major. This chord is the ii chord of the tonic key.
I am always shaking in horror when I hear this chord. Mahler has some of the most raw emotion that exists in classical music.
The "Adagio" as played here sounds almost as if it could have been written by Shostakovitch. No wonder he admired Mahler's music so much that he close to emulated it in his symphonies
Simplemente maravilloso..¡¡
Excellente prise de vue, en particulier sur la direction et le gestique de Bernstein, de plus en plus émouvant quand il dirige Mahler !
The harp at the end like.. now the soul after the purgatorio can go up to god and his heaven full of light
right on bud
Just a small piece of the almost sketchy introduction, or almost small plans of main parts of Symphony No. 10, but what a greatness and genius of this music, and for the entire symphonic work of Gustav Mahler. If the symphony had been completely finished, I have no doubt that Bernstein would have taken its partitura with him to a better place.
Masterpiece.
Gustav Mahler, preciosa Sinfonia nº 10 "ADAGIO"
Absolutely beautiful.
Also, fuck youtube for having the gall to put ads in the middle of a revelation like this one.
Une musique qui évoque un adieu douloureux à la vie.
Most beautiful to me that he is brilliant in the world to make calmness
26:28 Mahler be like: "Almost therrrrrre... aaaaaaaand... pizzicato I'm done." *died
This was filmed in the Vienna Konzerthaus in October 1974 (the second part of the program had Mahler's First Symphony); the Bernstein/VPO series was usually done at the Singverein.
El unísono perfecto 👌🏼 una joya 💎
19:03 - #MahlerSpecialChord...
18:22 Meine Lieblingsstelle!
Atemberaubend schön...💥
In all the years I've been watching symphony concerts, I've never seen the violas to the right of the conductor until now.
it could be because they are so prominent in this work.
For cellists : 10:13 cello solo, 14:55
GRANDIOSO!!!!!!!!!!!!!!!
This is how perfection sounds.
He leaves us with a crooked grin, gritted through terminal pain, but a grin all the same.
All Mahler's traumas and fears in one adagio. Death, anger, less hope, everything!!
I believe that the dissonance in the middle had to do with the death of his child and his reconciliation or non reconciliation over the death.
je n'aime pas trop faire des liens étroits entre la vie des artistes et leurs œuvres . Cependant, cette musique est d'une telle puissance émotionnelle, d'une telle force tragique et d'une si claire spontanéité du feeling, diverses images passent devant nos esprits mais dans la même haleine, on dirait issues du même souffle .... composition si humaine d'un génie si humain, dirigée par l'un des chefs les plus humains (émotifs) également .... merci pour le partage d'une telle merveille
Gustav Mahler - Adagio from Symphony No. 10 in F sharp minor | Vienna Philharmonic Orchestra, Leonard Bernstein
Preciosa música
Wagner
Rheingold
Why are you saying the title of the video what do you hope to achieve
Magnifique ❤
André Bessa states:
"...this video is that of Deryck Cooke, considered the most accepted and that was the basis for recordings by great conductors." This version was (and probably still is) the official Mahler Society's take on the first movement draft from Mahler's 10th. It is not the Cooke version. And as a composer and Mahler lover, for me the Cooke version of the 'complete' 10th is inadequate. It represents basically the stage at which Mahler left it. What it lacks is a complete orchestral realization of the work. There have been attempts to do just that - the versions by Carpenter, Wheeler, Barshai, Mazzetti, Sameli, and Gamzou are some of them. But I haven't heard one that I find completely satisfying. Bits and pieces, yes. That the Cooke version is the most performed I think stems from the fact conductors find it to be the 'purist' version, and the best documented version, in that it contains the fewest additions, and the reasons for those additions. But any version of the score still has to interpret what Mahler left in regards tempi, dynamics, missing harmonies, and orchestration. The Cooke version, in my opinion, is thin in that regard.
Even in it's present form, the last movement contains some of the most beautiful passages in all music. One could have only guessed what Mahler would have done. But I think it would be a disservice to the world and to Mahler's effort to disregard the draft of the 10th only because it is incomplete. After all, Mozart only wrote the first 8 bars of his Lacrimosa. Mahler left us a full score, only unorchestrated, but it is Mahler from beginning to end. And don't forget that Mahler probably knew he was dying when he wrote the 10th, he left the draft intentionally for someone to complete it later. He did not compose in this fashion for any other of his symphonies. After the summer of 1910 he intentionally left the draft in Austria and never touched it again, despite living a full year longer. In the winter of 1910-11 he revised the 9th and reorchestrated his wife's songs. I think he probably never intended to touch the 10th again after finishing the draft, he knew he was going to die and he left the symphony in that form intentionally.
@@Dan474834 Mahler did not know he was going to die when he sketched the 10th in the summer of 1910. He had every intention of finishing it the following summer. Mahler became ill during the 1911 season of the New York Philharmonic, and died on May 18, 1911.
This is probably in my top five Mahler movements.
Amazing! Is this the very last piece of music written by Mahler himself?
Yes and no. By the time he died, only this movement of the 10th was fully orchestrated. He left the other four in various stages, but all the base music was still there. So ppl like Deryck Cooke were able to orchestrate it after he died.
I recommend giving the rest of the symphony a try. It’s highly worth it even if it’s not fully Mahler
25:43 Première musique spectrale. La plus belle coda de Mahler.
Beatiful
Wonderful. It would have been magnificent if Bernstein had performed the rest of the symphony, the performing version of Deryck Cooke, including the last movement, which completes the emotional cycle of the first movement.
Masterpiece
Que musica mas extraordinaria, refleja el espiritu de Mahler, un adelantado en la forma y armonia. Sublime ,mejestuosa orquestacion , todas las emociones se expresan en este movimiento.
Barbra Streisand's favorite piece of classical music #BarbraStreisand #Maestro #MyNameIsBarbra
12:40 18:22 19:13
Love when I think of a piece like this and a version like this is at the ready.......mmm
I would love to write and film and entire section of a movie to this....the elementals against the film scenes and plot action......mmmm
The best of music
Lovely.
6:00 best moment
'The Scream' at 19:21 ??
that was Schoenberg. ;-)
God what a mind. What would have come had he not passed so early? We all ask that. Nothing, absolutely nothing he wrote up to this sounded like this. It feels like he was ready to completely jump out of all of 19th century Vienna into who knows what. Some say he wouldn’t have but he was headed out the door into territory only he knew. Lenny is so in the zone here.
19:19 the best cord I've ever heard
Pure genius. The summing up of a psyche.
Sublime
Bravo
The end of Romanticism!
Ok, Strauss already composed pieces that could be considered the transition between the romanticism and modernism, meanwhile Sibelius (I read somewhere, that Sibelius can be considered modernist) and Rachmaninoff were composing the last pieces of this style, but, they're lived long enough to see the new composers, and to see the performances of his own pieces by great conductors.
Mahler knew what it was creating a WORLD (like any artist without being GOD) he said that creating a symphony was "Build a world with all possible means", and when i listen to his symhonies or song cycles, i feel like i'm in another planet. The First Composers of Movie Soundtracks were most european, and these composers probably they didn't have so much success in their continent, and this was a great influence for american composers like Alfred Newman or Bernard Hermann, who estabilished dramatic and epic scores, that were already estabilished in post-romanticism, people who admired Liszt, Wagner and Bruckner ideas and they improved them (I also consider that Wagner was defining Cinema in a good way, a TOTAL ARTWORK that combines main art forms, but not all the movies can be considered a Total Artwork, unfortunately Hollywood had divided the Cienma, between ART and EnTertainMent, same with Music) and that leads to Neo-Romanticism (Howard Hanson and John Williams).
To live for you, to die for you.