are the spokesmen for the tuneful host.  He thus achieves the end of connecting the Allegro, Scherzo, and Adagio with each other, and all with the Finale, and at the same time points out what it is that he wishes us to recognize as the inspiration of the whole; but here, again, the means appear to be somewhat extraneous.  Schumann’s example, however, in abolishing the pauses between the movements of the symphony in D minor, and having melodic material common to all the movements, is a plea for appreciation which cannot be misunderstood.  Before Schumann Mendelssohn intended that his “Scotch” symphony should be performed without pauses between the movements, but his wishes have been ignored by the conductors, I fancy because he having neglected to knit the movements together by community of ideas, they can see no valid reason for the abolition of the conventional resting-places.

[Sidenote:  Beethoven’s “choral” symphony followed.]

Beethoven’s augmentation of the symphonic forces by employing voices has been followed by Berlioz in his “Romeo and Juliet,” which, though called a “dramatic symphony,” is a mixture of symphony, cantata, and opera; Mendelssohn in his “Hymn of Praise” (which is also a composite work and has a composite title—­“Symphony Cantata"), and Liszt in his “Faust” symphony, in the finale of which we meet a solo tenor and chorus of men’s voices who sing Goethe’s Chorus mysticus.

[Sidenote:  Increase in the number of movements.]

A number of other experiments have been made, the effectiveness of which has been conceded in individual instances, but which have failed permanently to affect the symphonic form.  Schumann has two trios in his symphony in B-flat, and his E-flat, the so-called “Rhenish,” has five movements instead of four, there being two slow movements, one in moderate tempo (Nicht schnell), and the other in slow (Feierlich).  In this symphony, also, Schumann exercises the license which has been recognized since Beethoven’s time, of changing the places in the scheme of the second and third movements, giving the second place to the jocose division instead of the slow.  Beethoven’s “Pastoral” has also five movements, unless one chooses to take the storm which interrupts the “Merry-making of the Country Folk” as standing toward the last movement as an introduction, as, indeed, it does in the composer’s idyllic scheme.  Certain it is, Sir George Grove to the contrary notwithstanding, that the sense of a disturbance of the symphonic plan is not so vivid at a performance of the “Pastoral” as at one of Schumann’s “Rhenish,” in which either the third movement or the so-called “Cathedral Scene” is most distinctly an interloper.

[Sidenote:  Further extension of boundaries.]

[Sidenote:  Saint-Saens’s C minor symphony.]