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._]

Usually it is deference to the demands of a "programme" that
influences composers in extending the formal boundaries of a symphony,
and when this is done the result is frequently a work which can only
be called a symphony by courtesy. M. Saint-Saens, however, attempted
an original excursion in his symphony in C minor, without any
discoverable, or at least confessed, programmatic idea. He laid the
work out in two grand divisions, so as to have but one pause.
Nevertheless in each division we can recognize, though as through a
haze, the outlines of the familiar symphonic movements. In the first
part, buried under a sequence of time designations like this:
_Adagio_--_Allegro moderato_--_Poco adagio_, we discover the customary
first and second movements, the former preceded by a slow
introduction; in the second division we find this arrangement:
_Allegro moderato_--_Presto_--_Maestoso_--_Allegro_, this multiplicity
of terms affording only a sort of disguise for the regulation scherzo
and finale, with a cropping out of reminiscences from the first part
which have the obvious purpose to impress upon the hearer that the
symphony is an organic whole. M. Saint-Saens has also introduced the
organ and a pianoforte with two players into the instrumental
apparatus.

[Sidenote: _The Symphonic Poem._]

[Sidenote