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 in D minor (Handel, arr. Elgar) first performance. Elgar's friend W. H. Reed wrote of Elgar's enthusiasm for Handel: '...he would speak of Handel with tears in his eyes... would rub his hands gleefully and look up to heaven at the thought of Handel's genius'. Elgar wrote to John E. West, music editor at Novello & Co., that he had known the overture since he was a little boy and always wanted it to be heard in a large form. Elgar's arrangement followed two orchestrations of works by another composer he admired: he transcribed J. S. Bach's "Fugue in C minor" in 1921 and the "Fantasia