 A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre . This is evident in the unusual orchestration and stage directions Berlioz prepared for his Roméo et Juliette . This piece is actually in seven movements , and calls for an intermission after the fourth movement – the " Queen Mab Scherzo " – to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows . Berlioz biographer D. Kern Holoman observed that , " as Berlioz saw it , the work is simply Beethovenian in design , with the narrative elements overlain . Its core approaches a five @-@ movement symphony with the choral finale and , as in the [ Symphonie ] Fantastique , both a scherzo and a march .... The ' extra ' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [ at the end of the work ] . " 
