Of the early Romantics, Felix Mendelssohn (five symphonies) and Robert Schumann (four) continued to write symphonies in the classical mold, though using their own musical language. In contrast, Hector Berlioz favored programmatic works, including his "dramatic symphony" "Roméo et Juliette", the viola symphony "Harold en Italie" and the highly original "Symphonie fantastique". The latter is also a programme work and has both a march and a waltz and five movements instead of the customary four. His fourth and last symphony, the "Grande symphonie funèbre et triomphale" (originally titled "Symphonie militaire") was composed in 1840 for a 200-piece marching military band, to be performed out of doors, and is an early example of a band symphony. Berlioz later added optional string parts and a choral finale. In 1851, Richard Wagner declared that all of these post-Beethoven symphonies were no more than an epilogue, offering nothing substantially new. Indeed, after Schumann's last symphony, the "Rhenish" composed in 1850, for two decades the Lisztian symphonic poem appeared to have displaced the symphony as the leading form of large-scale instrumental music. However, Liszt also composed two programmatic choral symphonies during this time, "Faust" and "Dante". If the symphony had otherwise been eclipsed, it was not long before it re-emerged in a "second age" in the 1870s and 1880s, with the symphonies of Anton Bruckner, Johannes Brahms, Pyotr Ilyich Tchaikovsky, Camille Saint-Saëns, Alexander Borodin, Antonín Dvořák, and César Franck—works which largely avoided the programmatic elements of Berlioz and Liszt and dominated the concert repertory for at least a century.