Composer | Piece | Year | Feature(s) |
Wagner | Tristan und Isolde: Prelude and Conclusion of Act I | 1859 | |
Sullivan | "When the Foeman bares his steel" from Pirates of Penzance | 1879 | British-English |
Brahms | Symphony No. 4 in E minor, op. 98: IV | 1885 | Evolves into call-response w/ strings and winds |
Brahms | Quintet for Piano and Strings in F minor, op. 34: I | 1864 | piano moving very quickly w/ strings moving more legato |
Strauss | Don Quixote, op. 35: themes and variations 1-2 | 1897 | sounds like a galloping horse |
Faure | "Avant que to ne t'en ailles" | 1894 | male vocalist; French; smooth; long phrases |
Dvorak | Slavonic Dances, op.46, no. 1 | 1878 | loud start; very fast and upbeat; dancelike (duh); loud percussion |
Beach | Gaelic Symphony, op. 32: II | 1897 | start with low brass; strings come in after; |
Joplin | Maple Leaf Rag | 1899 | syncopated; solo piano; no 4-bar introduction that was common for ragtime |
Mahler | "Nun will die Sonn' so hell aufgeh'n" from kindertotenlieder | 1904 | Clarinet? starts; low male voice; German; orchestra only plays in sections; evokes strong emotions |
Strauss | Salome: conclusion | 1905 | solo female voice; German; combines romanticism and modernism |
Bessie Smith | "Back Water Blues" | 1927 | female voice; repeated lines (12-bar blues progression); English |