of several of his symphonies are described as being in sonata form, although they diverge from the standard scheme quite dramatically. Some have even argued that the entirety of his first symphony (in which material from the first movement returns in the fourth movement) is meant to be one massive sonata-allegro form. As the result of these innovations, works became more sectional. Composers such as Liszt and Anton Bruckner even began to include explicit pauses in works between sections. The length of sonata movements grew starting in the 1830s. Franz Lachner 's Prize Symphony, a work seldom played today, had a first movement longer than any symphonic first movement by Beethoven. The length of whole works also increased correspondingly. Tone poems, which were often in sonata form, greatly extended their length in comparison to traditional overtures. For instance, Berlioz's Waverley Overture is as long as some middle-period Haydn symphonies. One debate in the 19th century was over whether it was acceptable to use the layout of a poem or other literary work to structure a work of instrumental music. The compositional school focused around Liszt and Wagner (the so-called New German School) argued in favor of literary inspiration (see Program music), while another camp, centered on Schumann, Brahms, and Eduard Hanslick argued that pure music should follow the forms laid out by Haydn, Mozart, and Beethoven. This conflict was eventually internalized, and by 1900, though the debate still raged, composers such as Richard Strauss would freely combine programmatic and symphonic structure, such as in the work Ein Heldenleben. Modern era In the Modern period, sonata form became detached from its traditional harmonic basis. The works of Schoenberg, Debussy, Sibelius and Richard Strauss emphasized different scales other than the traditional major-minor scale and used chords that did not clearly establish tonality. It could be argued that by the 1930s, sonata form was merely a rhetorical term for any movement that stated themes, took them apart, and put them back together again. However, even composers of atonal music, such as Roger Sessions and Karl Hartmann, continued to use outlines that clearly pointed back to the practice of Beethoven and Haydn, even if the method and style were quite different. At the same time, composers such as Sergei Prokofiev, Benjamin Britten, and Dmitri Shostakovich revived the idea of a sonata form by more complex and extended use of tonality. In more recent times,