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 as his "Tragic Overture", Op. 81. An example clearly influenced by the symphonic poem is Tchaikovsky's "1812 Overture". His equally well-known "Romeo and Juliet" is also labelled a 'fantasy-overture'. In European music after 1900, an example of an overture displaying a connection with the traditional form is Dmitri Shostakovich's "Festive Overture", Op. 96 (1954), which is in two linked sections, "Allegretto" and "Presto" (Temperely 2001). Malcolm Arnold's "A Grand, Grand Overture", Op. 57 (1956), is a 20th-century parody of the late 19th century concert overture, scored for an enormous orchestra with organ, additional brass instruments, and obbligato parts for four