The principal symphonic writers since Beethoven have been Ludwig Spohr (1784-1859), Franz Schubert (1797-1828), Felix Mendelssohn-Bartoldy (1809-1847), Robert Schumann (1810-1856), Hector Berlioz (1803-1869), Franz Liszt (1811-1886), Johannes Brahms (1833-1897), Peter Ilitisch Tschaikowsky (1840-1893) and Antonin Dvorak (1841,--still living). Spohr's symphonies are generally classic in form, but romantic in subject and treatment, as is indicated by their titles, "Lenore" (on Burger's poem), "Power of Sound," "Consecration of Tones." Schubert's symphonies are also classic in form, and only mildly romantic in content. Schubert was one of the leaders of the romantic school, but his romanticism found its most complete embodiment in his songs. Mendelssohn's symphonies are absolutely classic in form and in the finish of their style and instrumentation, but they are romantic in tendency. His overtures--such as "Hebrides" and "Melusine"--are unquestionably of the romantic spirit. Schumann was an ultra-romanticist and his piano music teems with compositions with suggestive titles, such as "Papillons" and "Carnival." His symphonies are romantic in the fulness of their plan to embody emotion. Hector Berlioz, the famous French symphonist, was one of the extreme romanticists. His symphonies are really symphonic poems in several detached movements and are all original in form. Sometimes he uses voices to help him out, but usually he is content with the orchestra, which he handled with a marvellous insight into its capacity. His symphonies all bear suggestive titles,--as "Romeo and Juliet" or "Harold in Italy," and are designed to illustrate stories. Franz Liszt was the inventor of the symphonic poem, and is included in this catalogue chiefly for that reason. His works are very rich in color, and occasionally rise to a level of real power.