Symphonic poem temporary stop to the debate as to whether the genre was dead. Nevertheless, composers began to explore the "more compact form" of the concert overture "...as a vehicle within which to blend musical, narrative and pictoral ideas." Examples included Mendelssohn's overtures "A Midsummer Night's Dream" (1826) and "The Hebrides" (1830). Between 1845 and 1847, the Belgian composer César Franck wrote an orchestral piece based on Victor Hugo's poem "Ce qu'on entend sur la montagne". The work exhibits characteristics of a symphonic poem, and some musicologists, such as Norman Demuth and Julien Tiersot, consider it the first of its genre, preceding
Music of Scotland in the nineteenth century most influential composer of his era and visited Britain ten times, for a total of twenty months, from 1829. Scotland inspired two of his most famous works, the overture "Fingal's Cave" (also known as the "Hebrides Overture") and the "Scottish Symphony" (Symphony No. 3). On his last visit to England in 1847, he conducted his own "Scottish Symphony" with the Philharmonic Orchestra before Queen Victoria and Prince Albert. Max Bruch (1838–1920) composed the "Scottish Fantasy" (1880) for violin and orchestra, which includes an arrangement of the tune "Hey Tuttie Tatie", best known for its use in the song "Scots Wha