Additionally, the success of several works by other French composers had nudged the symphonic form back into favour with the French concert-going public, beginning with the 1857 "Symphony" for piano by Franck's friend Charles-Valentin Alkan, with whom Franck had shared concerts in Paris in the late 1830s and to whom Franck dedicated his "Grande Pièce Symphonique". The Third (Organ) Symphony by Camille Saint-Saëns and (although a work for piano and orchestra) the "Symphony on a French Mountain Air" by Vincent d'Indy, both written in 1886 and popularly received, had further helped to revive the symphony as a concert piece, almost dormant since the appearance of Berlioz' "Symphonie fantastique" in 1830. (An earlier piece, the "Symphonie espagnole" (1875) by Édouard Lalo is a violin concerto.) Both these works, however, sought to create compositional distance from the symphonic form and sound of the German romantic idiom (exemplified by Brahms and Wagner) through several "French" innovations, including integrating piano (and in the case of Saint-Saëns, the organ) into the orchestra, and using a cyclic thematic style.