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
Overture on Hebrew Themes reorchestrate it" but, nevertheless, he was persuaded to make a version for chamber orchestra in 1934, published as Op. 34a . The orchestrated version is performed less often, because it lacks the earthiness and uncanny timbral balance of the original . Prokofiev did not regard the work very highly. When a Scots critic, Andrew Fraser, published an article in 1929 describing the Overture as "a beautiful and pathetic work", the composer wrote in response, "its technique is conventional, its form is bad (4 + 4 + 4 + 4)". When his friend Nikolai Myaskovsky praised the second theme, Prokofiev retorted,