Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.