Editing Overture (section)

===Later 19th century===
In the 1850s the concert overture began to be supplanted by the [[symphonic poem]], a form devised by [[Franz Liszt]] in several works that began as dramatic overtures. The distinction between the two genres was the freedom to mould the musical form according to external [[Program music|programmatic]] requirements.<ref name="auto1"/> The symphonic poem became the preferred form for the more "progressive" composers, such as [[César Franck]], [[Camille Saint-Saëns]], [[Richard Strauss]], [[Alexander Scriabin]], and [[Arnold Schoenberg]], while more conservative composers like [[Anton Rubinstein]], [[Pyotr Ilyich Tchaikovsky]], [[Johannes Brahms]], [[Robert Schumann]] and [[Arthur Sullivan]] remained faithful to the overture.<ref name="auto1"/>
[[File:Pyotr_Ilyich_Tchaikovsky_-_1812_overture.ogg|thumb|right|Tchaikovsky's ''1812 Overture'']]
In the age when the symphonic poem had already become popular, Brahms wrote his ''[[Academic Festival Overture]]'', Op. 80, as well as his ''[[Tragic Overture]]'', Op. 81. An example clearly influenced by the symphonic poem is Tchaikovsky's ''[[1812 Overture]]''. His equally well-known ''[[Romeo and Juliet (Tchaikovsky)|Romeo and Juliet]]'' is also labelled a 'fantasy-overture'.