 Some composers both emulated and expanded upon Beethoven 's model . Berlioz showed in his choral symphony Roméo et Juliette a fresh approach to the epic nature of the symphony as he used voices to blend music and narrative but saved crucial moments of that narrative for the orchestra alone . In doing so , Bonds writes , Berlioz illustrates for subsequent composers " new approaches for addressing the metaphysical in the realm of the symphony " . Mendelssohn wrote his Lobgesang as a work for chorus , soloists and orchestra . Labeling the work a " symphony @-@ cantata " , he expanded the choral finale to nine movements by including sections for vocal soloists , recitatives and sections for chorus ; this made the vocal part longer than the three purely orchestral sections that preceded it . Liszt wrote two choral symphonies , following in these multi @-@ movement forms the same compositional practices and programmatic goals he had established in his symphonic poems . 
