The phrase "a romantic work" is correct and usable in written English.
It can be used to describe a piece of literature, art, or any creative endeavor that embodies themes of romance or love.
Example: "The novel is considered a romantic work, capturing the essence of love and longing between the characters."
Alternatives: "a love story" or "a romantic piece".
The Nov. 15 program will include Richard Strauss's Oboe Concerto, a Romantic work, featuring the ensemble's own Olav van Hezewijk.
Mr. Botstein called it "the one great anomaly in the Russian repertory," a Romantic work with its eye not on the country's history or folklore but a different, highly stylized tradition.
A romantic work for four couples at a club, it used to look like a lazy update of Balanchine's "Liebeslieder Walzer" for dancers who weren't worthy of that far more intricate and eloquent masterpiece.
Some persist in seeing Madama Butterfly as a Romantic work, when in fact it deals, often unsparingly, with a man who buys a teenage bride in catastrophic ignorance of the emotional consequences, all of it set against a background of US expansion and exploitation.
Mr. Preston also has a well-developed sense of composition, which is most apparent in two works: "Inner Flame, Antelope Canyon, Page, Arizona" (1997), which concentrates on sweeping forms, and the spaces they create; and "First Light, Grand Canal, Venice Italy" (1999), a romantic work.
On a strange level, it is a deeply romantic work.
He was not a minimalist; The Protecting Veil is a deeply romantic work, even if its proportions allow for much repetition.
In the second half, two selections from Gyorgy Kurtag's "Jatekok" suite led directly into a performance of Schumann's rhapsodic "Kreisleriana," a touchstone Romantic work that Richard Goode will play next Wednesday at Carnegie Hall.
This is a late romantic work, mostly inter national in content, though with nationalistic overtones —overtones as much; Russian and Bohemian as Polish.
Anything but gothic, Sunrise is a rhapsodic, romantic work, and yet the simplistic story and its eventually conservative message were, typically for Murnau, secondary concerns.
Each half of Mr. Gerstein's fascinatingly constructed program began with a Busoni sonatina, followed by Oliver Knussen's "Ophelia's Last Dance" (Op. 32) — that's right, he played it twice — and then a large Romantic work.
