usly recapitulates the principal themes of the first, second,
and third movements in the finale; and this without a sign of the
dramatic purpose confessed by Berlioz.

[Sidenote: _Introduction of voices._]

[Sidenote: _Abolition of pauses._]

In the last movement of his Ninth Symphony Beethoven calls voices to
the aid of his instruments. It was a daring innovation, as it seemed
to disrupt the form, and we know from the story of the work how long
he hunted for the connecting link, which finally he found in the
instrumental recitative. Having hit upon the device, he summons each
of the preceding movements, which are purely instrumental, into the
presence of his augmented forces and dismisses it as inadequate to the
proclamation which the symphony was to make. The double-basses and
solo barytone 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.