What was NOT a characteristic of the late romantic symphony and concerto?

In the context of the late romantic symphony and concerto, it is important to consider the structural conventions typical of that era. Late romantic concertos often featured virtuosic solos, showcasing the technical prowess of individual musicians, and were characterized by expanded forms, usually comprising three movements. This three-movement structure allowed for a greater emphasis on lyrical melodies and intricate interactions between the soloist and orchestra.

While symphonies from the late romantic period indeed embraced expansive melodic development, concertos typically diverged from the traditional four-movement structure found in classical concertos. The common practice was to compose concertos in three movements, usually structured as fast-slow-fast, which contributed to their dramatic and expressive qualities. Therefore, stating that concertos from this period were in four movements does not align with the conventions observed during the late romantic period.