116 ("Historical") "in the Style and Taste of Four Different Periods": 1. Bach-Handel'sche Periode, 1720, Largo – Grave; 2. Haydn-Mozart'sche Periode, 1780, Larghetto; 3. Beethoven'sche Periode, 1810, Scherzo; and 4. Allerneueste Periode ["very latest Period"], 1840, Allegro vivace. Though not characteristic of his later style, Sergei Prokofiev paid tribute not only to the "classicism" of Haydn but also to the baroque gavotte in his Symphony No. 1 in D Major, op. 25 ("Classical"). The Cecilian Movement, beginning formally with the founding of the Allgemeiner Deutscher Cäcilienverein in 1868 but conceptually reaching back to the Council of Trent (1545–63), had as its goal the restoration of traditional religious feeling and the authority of the Catholic Church. Emerging from the early stages of industrialization and the Romanticism of the late-18th and early 19th centuries, the Cecilian Movement grew out of a longing for simplicity and unworldliness, but also on an historicizing desire to return compositionally to models from the past, in particular the Renaissance masters of the 15th and 16th centuries. Palestrina was taken as the chief representative of this contrapuntal music of the stile antico, sung with little or no instrumental accompaniment, which was regarded as more suitable to church music than the more emotional style that had emerged during the 18th century . The fusion of historical and emergent styles, forms, techniques, and content in a given work is encountered with great frequency in the music of most periods. The fugue, for example, whose origins can be traced to the imitative counterpoint of the late Middle Ages and which reached full maturity in the works of Johann Sebastian Bach, figures prominently in the musical styles of a number of important composers in the 19th century and beyond, including Beethoven, Mendelssohn (whose early works were modelled on symphonies of C. P. E. Bach), Reger (whose works for solo cello, viola or violin closely imitate Bachian forms), Shostakovich, and Hindemith. A closely related instrumental genre that first appeared in the late Renaissance, the toccata achieved particular prominence in the keyboard works of Buxtehude and J.S. Bach and has since been revived by such distinguished composers as Schumann, Debussy, and Prokofiev. Other romantic and early 20th-century composers among the many who demonstrated either explicit or implicit historicist affinities are Barber, Bartók, Britten, Bruckner, Marius Casadesus, Chávez, Ferdinand David, Falla, Fauré, François-Joseph Fétis, Grieg, d'Indy, Ives, Kreisler, Liszt, Martinů, Paderewski, Pfitzner, Manuel Ponce, Poulenc,