Even in the matter of form he exercised hardly more than a spiritual influence, as regards pianoforte music alone. Schumann and Chopin both wrote sonatas, but the sonatas of neither show kinship to those of Beethoven. The Brahms sonatas are more closely related to Weber than to Beethoven. The Liszt sonata in B minor and the Liszt concertos are constructed on a wholly new plan that was suggested by Berlioz; and the two long works of César Franck are not even called sonatas. The sonata in pianoforte music alone had had its day. The form remained but the spirit had fled. If music came back to it at all, it came back to sit as it were among ruins. The change which came over music was but the counterpart of the change which came over men and over society. It was evident in literature long before it affected music. It might in many ways be said to have reached music through literature. The whole movement of change and reformation has been given the name Romantic. It was accompanied in society by violent revolutions, prolonged restlessness, the awakening of national and popular feeling. It is marked in literature and in music by intensely self-conscious emotion, by an appeal to the senses rather than to the intellect, by a proud and undisguised assertion of individuality. Most great music is romantic music. The preludes of Bach, the little pieces of Couperin, a great deal of Haydn, Mozart, and Beethoven have a personal warmth which is essentially romantic. Music draws its life more directly from emotions than the other arts. But there are signs in the music of these men of an objective, an external ideal, to which they have conformed the expression of their emotions. They do not work upon the spur of emotional excitement alone. That is but the germ from which their music starts. They have a power to sustain. They work with music; and the ideas which they choose to work with are chosen from a thousand others for the possibilities they contain of expansion, of alteration, of adaptability to the need of the work as a whole. Within the limits of this work emotional inspiration plays its part, adding here and there a bit of harmony, a new phrase. These are romantic touches. These reveal the quick or the inert nature back of the music. But back of it all the architectural brain presides, building a structure of broad design, or of exquisite proportions. The ideal is commonly known as classical; and these composers are properly called classical.