Rheinberger's last years were saddened by family affliction and embittered by physical suffering. He displayed an heroic fortitude, but his assumed cheerfulness concealed the loneliness, the sadness, the melancholy even to morbidness that were constantly preying upon his soul. His life became more and more that of a recluse and an ascetic. Meanwhile his compositions continued even to the end to reflect unswerving faith, serenity, loyalty of heart and nobility of mind. The greater his honor for thus excluding the "ego" from his final offerings to the world! A certain melancholy coloring does assert itself in his unfinished mass in A minor, but unaffected simplicity and touching pathos were wonderfully appropriate for what proved to be his "Schwanengesang."[50] [Footnote 50: The present writer has developed and edited this mass as a posthumous work, opus 147, in the hope of presenting it in a form suitable for performance.] It is now time to leave the peaceful haven of the classical-romanticists, and embark upon the restless seas of advanced thought as set forth in the next chapter. (Summary on page 175.) CHAPTER XI. THE NEW MOVEMENT. Three countries, France, Hungary and Germany, share the honors in having brought forth three of the greatest orchestral composers, Berlioz, Liszt and Wagner, who together founded the so-called "New Movement." I. BERLIOZ[51] (1803-1869). The contributions of Berlioz to the development of "program" music and to modern science of orchestration loom up in gigantic proportions. He was practically the first representative of the New Movement, but contrary to the natural course of evolution, he was not only its founder but at once its most radical exponent as well. Liszt in his younger days heard some of Berlioz's compositions in Paris, and it was thus that the new seed was transplanted into Germany where it was cultivated in concert music by Liszt himself, who thereby in turn influenced Wagner's music dramas. The difference in objective between the principles laid down by Schumann and Berlioz was that the former aimed to portray a single independent thought or image, whereas Berlioz's music was connected with a series of events or ideas. His objective was to make the music symbolic of images and conceptions that should be capable of being expressed in words, and his pseudo-symphonies were accompanied by an elaborate word exposition as a running commentary on the music. As the result of his activity, the dawn of a new era in concert music appeared in France. As the chief representative of her romantic musical art, he combined dramatic and symphonic effects. As an opera composer he was not successful, but he seized upon the orchestral experiments of the contemporary operatic composers, and endeavored to express theatrical ideas by means of the orchestra alone. Henceforth the power of description was to be entrusted to music itself and not to the accessories of the stage.