The so-called "Neapolitan" or "cantata" mass style also had much influence on 18th-century mass composition with its short sections set as self-contained solo arias and choruses in a variety of styles. The 18th-century Viennese mass combines operatic elements from the cantata mass with a trend in the symphony and concerto to organize choral movements. The large scale masses of the first half of the century still have Glorias and Credos divided into many movements, unlike smaller masses for ordinary churches. Many of Mozart's masses are in missa brevis form, as are some of Haydn's early ones. Later masses, especially of Haydn, are of symphonic structure, with long sections divided into fewer movements, organized like a symphony, with soloists used as an ensemble rather than as individuals. The distinction between concert masses and those intended for liturgical use also came into play as the 19th century progressed. After the Renaissance, the mass tended not to be the central genre for any one composer, yet among the most famous works of the Baroque, Classical, and Romantic periods are settings of the Ordinary of the Mass. Many of the famous masses of the Romantic era were Requiems, one of the most famous, "A German Requiem" by Brahms, being the composer's own selection of biblical texts rather than a setting of a standard liturgy. Among the masses written in these eras are:  By the end of the 19th century, composers were combining modern elements with the characteristics of Renaissance polyphony and plainchant, which continued to influence 20th-century composers, possibly fueled by the Motu proprio Tra le sollecitudini (1903) of Pope Pius X. The revival of choral celebration of Holy Communion in the Anglican Church in the late 19th century marked the beginning several liturgical settings of mass texts in English, particularly for choir and organ. The movement for liturgical reform has resulted in revised forms of the mass, making it more functional by using a variety of accessible styles, popular or ethnic, and using new methods such as refrain and response to encourage congregational involvement. Nevertheless, the mass in its musical incarnation continues to thrive beyond the walls of the church, as is evident in many of the 21st-century masses listed here which were composed for concert performance rather than in service of the Roman Rite. Pope Pius X initiated many regulations reforming the liturgical music of the mass in the early 20th century.