[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki5\/list-of-major-minor-compositions-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki5\/list-of-major-minor-compositions-wikipedia\/","headline":"List of major\/minor compositions – Wikipedia","name":"List of major\/minor compositions – Wikipedia","description":"From Wikipedia, the free encyclopedia Major\/minor compositions are musical compositions that begin in a major key and end in a","datePublished":"2018-08-27","dateModified":"2018-08-27","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki5\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki5\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/en.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","url":"https:\/\/en.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","height":"1","width":"1"},"url":"https:\/\/wiki.edu.vn\/en\/wiki5\/list-of-major-minor-compositions-wikipedia\/","about":["Wiki"],"wordCount":8322,"articleBody":"From Wikipedia, the free encyclopediaMajor\/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major\/minor). This is a very unusual form in tonal music,[1][2] although examples became more common in the nineteenth century.[3] There are far fewer major\/minor compositions than minor\/major ones[4] (the latter category of which includes, but is not limited to, all minor-key works that end with a Picardy third, as well as many Classical- and Romantic-period symphonies, concertos, sonatas and chamber works, and individual movements thereof.)The major\/minor compositions in the following lists do not necessarily end with a minor chord; a final passage in minor ending with a sonority that fails to re-establish the major mode (for example, an open octave or fifth) is sufficient.Works falling into the following categories are excluded:Compositions that would be major\/minor but for a final Picardy third stipulated by the composer, such as Bach’s Darzu ist erschienen der Sohn Gottes, BWV 40 or Francis Poulenc’s Vinea mea electa from Quatre motets pour un temps de p\u00e9nitence (FP 97);Compositions in which the beginning only hints at a possible reading of a major key without really establishing it, such as the Brahms Clarinet Quintet, Haydn’s two string quartets, Op. 33 No. 1 and Op. 64 No. 2, C. P. E. Bach’s Piano Sonata, Wq. 55\/3, or the first movement of Alkan’s Grande sonate ‘Les quatre \u00e2ges’ (all of which are in B minor, but start with the possibility of D major);Compositions in which the opening major chord merely serves a function (e.g. dominant or Neapolitan) in the ensuing minor key, without being tonicized in its own right, such as Saint-Sa\u00ebns’ Danse macabre or Chopin’s first Ballade;Compositions that are only incidentally major\/minor due to being unfinished, without any indication that the composer intended them to be major\/minor, such as Schubert’s Piano Sonata in C, D. 840 or Haydn’s String Quartet in D minor, Op. 103;Frequently performed portions of a larger work consisting of what is technically two separate movements, if the first of these finishes clearly on the tonic (and thus doesn’t require continuation), such as the opening pair of movements in Beethoven’s Piano Sonata Op. 109 (connected by an attacca);Entire extended works as song cycles, ballets, operas and oratorios that finish in a different tonic than the starting one, unless the two keys carry clear extramusical or programmatic connotions within the work (an explanation of which must accompany any such listings below).Table of ContentsMajor\/minor compositions retaining the keynote[edit]Single works and miniatures[edit]Movements from larger works[edit]Works in several movements[edit]See also[edit]References[edit]Major\/minor compositions retaining the keynote[edit]Single works and miniatures[edit]Alkan \u2013 Chant d’amour – chant de mort, Op. 35 No. 10 (G\u266d-f\u266f)[5]Alkan \u2013 Esquisse, Op. 63 No. 7 “Le frisson” (F\u266f)[6]Alkan \u2013 Pri\u00e8re Op. 64 No. 10 (B\u266d)Allen \u2013 Girl of the Orient (F)Bax \u2013 The Devil that Tempted St. Anthony (F)Brahms \u2013 J\u00e4gerlied, Op. 66\/4 (C)Brahms \u2013 Rhapsody Op. 119 No. 4 in E\u266d[7]Busoni \u2013 Sonatina No. 6 in A, BV 284Campra \u2013 Cari Zephiri volate (A)Campra \u2013 Quis ego Domine (A)Catoire \u2013 Prelude Op. 17 No. 4 (B\u266d)[8]Cavallini \u2013 Caprice for clarinet Op. 4 No. 4 (E)Chopin \u2013 Nocturne Op. 32 No. 1 in B[9][10] (final chord sometimes changed to major)Coste \u2013 Le D\u00e9part, Op. 31 (E)Couperin – Le Dodo, ou l’amour au Ber\u00e7eau, from Pieces de Clavecin (A) [11]de Curtis \u2013 Torna a Surriento (E) (only if the chorus is used as an instrumental introduction, as done in the widely-performed arrangement by Giancarlo Chiaramello)Fibich \u2013 Mal\u00ed\u0159sk\u00e9 Studie (Studies on Painters), No. 2, Spor Masopustu s Postem (The Fight Between Carnival and Lent) in CFranck \u2013 Fantaisie in A, from Trois Pi\u00e8ces for organ (1878) (A)Fuchs \u2013 Andante grazio and Capriccio Op. 63 (A)Graener \u2013 Theodor-Storm-Musik Op.93 (A)Harris \u2013 Symphony No. 3 (G)Heidrich \u2013 Variations on “Happy Birthday” (C)Heinrich \u2013 The President’s Funeral March (E)Kuhlau \u2013 Introduction and Variations for flute and piano Op. 99 (A)Lalo \u2013 Fantaisie norv\u00e9gienne in ALecuona \u2013 La 32, No. 6 of Siete Danzas Cubanas Tipicas (G\u266d-f\u266f)Levy \u2013 Tango Brasileiro (A) (reverse Picardy third)Mendelssohn \u2013 Andante Cantabile e Presto Agitato in B[12]Mendelssohn \u2013 Capriccio brillante for piano and orchestra in B, Op. 22 [13]Mendelssohn \u2013 Capriccio in E, Op. 118 (1837) [12]Mendelssohn \u2013 Capriccio, MWV U 43 (E\u266d)Mendelssohn \u2013 Characteristic Piece Op. 7 No. 7 in E (reverse Picardy third)[14]Mendelssohn \u2013 Rondo Capriccioso in E, Op. 14[12][15]de Momigny \u2013 La Nouvelle Valentine (A)Moniuszko \u2013 Magda Karczmarka, No. 20 from \u015apiewnik domowy Vol. 2 (B\u266d)Moniuszko \u2013 Do Niemna, No. 4 from \u015apiewnik domowy Vol. 6 (E)Mozart \u2013 Violin Sonata in A, K. 402\/385e (completed by Maximilian Stadler; the work has only one movement)Poulenc \u2013 Nocturne, FP 56 No. 6 (G)Poulenc \u2013 Amoureuses, FP 77 No. 5 (F)Praeger \u2013 Rhapsody No. 2 in FPurcell \u2013 Awake, ye dead, Z. 182 (C)Purcell \u2013 The earth trembled, Z. 197 (A)[16]Purcell \u2013 Love arms himself in Celia’s eyes, Z. 392 (C)[17]Purcell \u2013 Oh! fair Cedaria, Z. 402 (C) (some performances add a Picardy third)Purcell \u2013 This poet sings the Trojan wars (Anacreon’s defeat), Z. 423 (C)Rachmaninoff \u2013 K Dj\u00e9tjam (To the Children), Op. 26 No. 7, from “Fifteen Romances” of Op.26 (F)Reicha \u2013 L’Art de Varier, Op. 57 (F)[18]Reicha \u2013 Fugue, Op. 36 No. 32 (E\u266d)Rheinberger \u2013 Toccata Op. 12 (G)Satie \u2013 Gymnop\u00e9die No. 1 (D)[19]A. Scarlatti \u2013 Se Florindo e fedele (A\u266d) (ends on an open octave in an A\u266d minor context)D. Scarlatti \u2013 Keyboard Sonata K. 63 (L. 84) in G (“Capriccio”) (ending sometimes changed to major)D. Scarlatti \u2013 Keyboard Sonata K. 107 (L. 474) in F[20][21]D. Scarlatti \u2013 Keyboard Sonata K. 140 (L. 107) in D[22]:\u200a165\u200aD. Scarlatti \u2013 Keyboard Sonata K. 182 (L. 139) in AD. Scarlatti \u2013 Keyboard Sonata K. 206 (L. 257) in E[23]D. Scarlatti \u2013 Keyboard Sonata K. 297 (L.S. 19) in F[22]:\u200a166\u200aScriabin \u2013 Mazurka in F (1889)Schubert \u2013 Impromptu Op. 90 No. 2 in E\u266d[24]Schubert \u2013 Moment Musical No. 6 in A\u266d (ends on an open octave in an A\u266d minor context)[25]Schubert \u2013 Am Bach im Fr\u00fchling, D. 361 (D\u266d-c\u266f)Schubert \u2013 An den Mond, D. 468 (A)Schubert \u2013 Tr\u00e4nenregen (No. 10 of Die Sch\u00f6ne M\u00fcllerin) (A)[26]Schubert \u2013 Die b\u00f6se Farbe (No. 17 of Die Sch\u00f6ne M\u00fcllerin) (B)[27]Schubert \u2013 Fr\u00fchlingstraum (No. 11 of Winterreise) (A)[28]C. Schumann \u2013 Romance, op. 5 no. 3 (B)[29]C. Schumann or Friedrich Wieck \u2013 Der Wanderer in der S\u00e4gem\u00fchle (C)R. Schumann \u2013 No. 17 of Davidsb\u00fcndlert\u00e4nze, Opus 6 (B)[30]R. Schumann \u2013 Der Handschuh, Op. 87 (D)Sibelius \u2013 Impromptu, Opus 5 No. 6 in ESibelius \u2013 Valse triste, op. 44 no. 1 (G)Soler \u2013 Keyboard Sonata R. 6 in FStrauss \u2013 Don Juan, Op. 20 (E)[31]Tchaikovsky \u2013 To Forget So Soon, TH 94 (F)[32]Tchaikovsky \u2013 Valse-Scherzo Op. 7 in AVo\u0159\u00ed\u0161ek \u2013 Fantasia for piano, Op. 12 (C)Movements from larger works[edit]Arriaga \u2013 Symphony in D major, i (ends on an open octave in a D minor context)Beethoven \u2013 Piano trio No. 6 in E\u266d major, ii (C)[33]Beethoven \u2013 Violin Sonata No. 9, “Kreutzer”, i (A)[34]Beethoven \u2013 Piano Quartet No. 1 in E\u266d WoO 36, i (and ii) (E\u266d)[35] (although sometimes construed as two separate movements, they are not really separable as the first ends with a half-cadence leading into the second)Lennox Berkeley \u2013 Three Pieces for solo clarinet, iii (G)Catalani \u2013 La Wally, “Ebben, ne andr\u00f2 lontana” (E)Chausson \u2013 Piano Trio in G minor, iv (G)[36]Chausson \u2013 Po\u00e8me de l’amour et de la mer, i (G)Couperin \u2013 Pieces de clavecin, Troisieme livre, “L’enjou\u00e9e” (G)Cui \u2013 In modo populari: Petite Suite No. 3, Op. 43, vi (Vivace, ma non troppo) (G) (returns to theme of first movement in G minor)Dvo\u0159\u00e1k \u2013 Piano Trio (“Dumky”) Op. 90 in E minor, v (E\u266d)Fitelberg \u2013 Violin Sonata Op. 12, i (F)Fuchs \u2013 String Trio Op. 61\/1, i (E)Grieg \u2013 Sigurd Jorsalfar (incidental music), iii (“Ved mannjevningen”) (A)Gouvy \u2013 Petite Suite Galoise Op. 90, i (G)Handel \u2013 Jephtha, “All That Is in Hamor Mine” (G)[37]Handel \u2013 Messiah, “All We Like Sheep” (F) [38]Handel \u2013 Serse, “Per dar fine alla mia pena” (G)Kabalevsky \u2013 Piano Sonata No. 2, i (E\u266d)Lalo \u2013 Concerto Russe, Opus 29, i (G)Lalo \u2013 Symphonie espagnole, Opus 21, ii (G)Lalo \u2013 Symphony in G Minor, ii (scherzo) (E)[39]Lazzari \u2013 String Quartet in A minor Op. 17, iv (A)MacDowell \u2013 Piano sonata No. 3, Op.57, iii (D)Marais \u2013 Sonata \u00e0 la Mar\u00e9sienne (La Gamme et Autres Morceaux de Simphonie 1723), iii (C)Marpurg \u2013 Cinqi\u00e8me Suite de Pi\u00e8ces de Clavecin, v (G)Mayer \u2013 Symphony No. 5, iv (F)Medtner \u2013 Sonata-Ballade Op. 27, i (F\u266f)[40][41]Mendelssohn \u2013 String Quartet Op. 13, i (A)[42]Mendelssohn \u2013 String Symphony No. 11, i (F)Mendelssohn \u2013 Symphony No.5, Op.107 (“Reformation”), i (D)[43]Mozart \u2013 The Magic Flute, Quintet (Wie? Wie? Wie? Ihr an diesem Schreckensort?), Act II (G)Mozart \u2013 Sonata for Violin and Piano K. 379, i (G)[35]Mozart \u2013 Overture-Allemande (both movements played without pause) from Suite, K. 399\/385i (C)Myaskovsky \u2013 Symphony No. 25 Op. 69, i (D\u266d-c\u266f)Poulenc \u2013 Cello Sonata FP 143, i (E)Poulenc \u2013 Concert champ\u00eatre for Harpsichord and Orchestra, iii (D)Poulenc \u2013 Oboe Sonata FP 185, ii (B\u266d)Poulenc \u2013 Un soir de neige FP 126, iv. La nuit le froid la solitude (E\u266d)Reicha \u2013 Flute Quartet Op. 98 No. 6, iv (G)Ries \u2013 Piano Concerto No. 3 in C\u266f minor, Op. 55, iii (C\u266f)Rimsky-Korsakov – Symphony No. 3 Op. 32, i (C)Sibelius \u2013 Symphony No. 4 in A minor, Op. 63, iv (A) [44]St\u00f6hr \u2013 Piano Trio in A minor Op. 100, iv (revised version only; first version remains in major to the end)Szymanowski \u2013 Fantasy Op. 14, ii (A\u266d)Tchaikovsky \u2013 Piano Trio in A minor, Op. 50, iiB (A)[45]Vivaldi \u2013 Concerto for Strings & Continuo in G, R151 (“Alla Rustica”), i (G)[46]Verdi \u2013 Rigoletto, Finale (D\u266d, reverse picardy third)Weinberg \u2013 String Quartet No. 4 in E\u266d, Op. 20, iv (E\u266d)[47]Works in several movements[edit]Aimon \u2013 String Quartet Op. 7 (E)Alfv\u00e9n \u2013 Symphony No. 2 in D, Op. 11Alkan \u2013 Sonate de Concert for Cello and Piano in E, Op. 47Andr\u00e9e \u2013 String Quartet IEA 12 (A)Beethoven \u2013 Sonata quasi una fantasia, Biamonti 213 (D)[48][49]Boccherini \u2013 Guitar Quintet “Fandango” in D major, G. 448Boieldieu \u2013 Harp Concerto in CBrahms \u2013 Piano Trio No. 1 in B, Op. 8 (both versions)[50][51]Couperin \u2013 Troisi\u00e8me Concert from Concerts Royaux (A)Couperin \u2013 Ordre 12\u00e8me de clavecin (E)Dvo\u0159\u00e1k \u2013 Czech Suite in D, Op. 39 [52]Frey \u2013 Cello Sonata Op. 8 (B)Fuchs \u2013 Piano Sonata Op. 19 (G\u266d-f\u266f)[53]Fuchs \u2013 String Quartet Op. 58 (E)[54]Fuchs \u2013 String Trio Op. 61\/1 (E)Gigout \u2013 Deux Interludes pour orgue ou harmonium (C)Godard \u2013 String Quartet No. 2, Op. 37 (A)Handel \u2013 Concerto Grosso Op. 3 No. 6 in D[55]Hartmann \u2013 Serenade Op. 24 (A)Hummel \u2013 Cello Sonata Op. 104 in A[56]Lalo \u2013 Concerto Russe, Op. 29 in GMarpurg \u2013 Troisi\u00e8me Suite de Pi\u00e8ces de Clavecin (C)Marpurg \u2013 Cinqi\u00e8me Suite de Pi\u00e8ces de Clavecin (G)Mendelssohn \u2013 String Symphony No. 11 (F)Mendelssohn \u2013 Symphony No. 4 in A, “Italian”[51]Mendelssohn \u2013 Suite in G MWV Z1\/105-108Myaskovsky \u2013 Divertimento Op. 80 (E\u266d)Nielsen \u2013 Hagbarth and Signe: Music for Adam Oehlenschl\u00e4ger’s Play (D\u266d-c\u266f)Norman \u2013 String Quartet Op. 20 (E)Nov\u00e1k \u2013 String Quartet Op. 22 (G)O’Kelly \u2013 Piano Trio Op. 15 (G)Palmgren \u2013 Impromptu and Scherzo Op. 10 (D\u266d-c\u266f)Pescetti \u2013 Harpsichord Sonata No. 4 (A)Poulenc \u2013 Sonata for clarinet and bassoon in D, FP 32aRachmaninoff \u2013 Suite for Two Pianos No. 2 in CRameau \u2013 Suite No. 5 in G from Nouvelles Pi\u00e8ces de clavecin[57]Reicha \u2013 Flute Quartet Op. 98 No. 6 (G)Ries \u2013 Cello Sonata Op. 21 in ARosenhain \u2013 Cello Sonata Op. 38 (E)Sch\u00e4fer \u2013 Cello Sonata Op. 13 (C)P. Scharwenka \u2013 2 Tanz-Impromptus Op. 86 (F\u266f)Sgambati \u2013 String Quartet Op. 12 or Op. 17 (D\u266d-c\u266f)Shostakovich \u2013 String Quartet No. 2 in A, Op. 68[58][59]Smith \u2013 Ouverture-Suite in GSpendiarov \u2013 Esquisses de la Crim\u00e9e Op.23 (G)Steibelt \u2013 Violin Sonata Op. 69 (G)St\u00f6hr \u2013 Violin Sonata No. 1, Op. 27 (G)St\u00f6hr \u2013 Violin Sonata No. 7, Op. 107 (E)St\u00f6hr \u2013 Violin Sonata No. 15, Op. 134b (B\u266d)Taneyev \u2013 String Quintet No. 2 in C, Op. 16Vo\u0159\u00ed\u0161ek \u2013 Violin Sonata in G, Op. 5G. Weber \u2013 Keyboard Sonata in C, Op. 15Walter \u2013 Violin Sonata in A, 1908Weinberg \u2013 String Quartet No. 4 in E\u266d, Op. 20[47]Alb\u00e9niz \u2013 C\u00f3rdoba, No. 4 of Cantos de Espa\u00f1a, Opus 232 (F-d)Alkan \u2013 Pri\u00e8re, Op. 66 No. 7 (C-a)Bernstein \u2013 Chichester Psalms (B\u266d-g)Berlioz \u2013 Requiem (Grande Messe des Morts), Op. 5, viii, Hostias (G-b\u266d)Bizet \u2013 Symphony in C major, ii (F-a)Claude Bolling \u2013 Suite for Flute and Jazz Piano Trio (G-c)Brahms \u2013 Du mein einzig Licht, WoO 33 No. 37 (A-f\u266f)Brahms \u2013 Vom Strande, Op. 69 No. 6 (F-a)Chausson \u2013 Po\u00e8me de l’amour et de la mer (G-d)Chausson \u2013 Po\u00e8me de l’amour et de la mer, ii  (actually the third movement, counting an unnumbered interlude) (E-d)Chopin \u2013 Ballade No. 2 (F-a)Couperin \u2013 Ordre 25\u00e8me de clavecin (E\u266d-c)Debussy \u2013 Suite bergamasque (F-f\u266f)Dvo\u0159\u00e1k \u2013 The Noon Witch (C-a)Enescu \u2013 Cantabile e Presto for flute and piano, 1904 (E\u266d-g)Enescu \u2013 Nocturne e Saltarello for cello and piano, 1897 (F-a)Finzi \u2013 Childhood Among the Ferns (E\u266d-b\u266d)Fuchs \u2013 Serenade in D Op. 9, ii (B\u266d-g)Godowsky \u2013 “Paradoxical Moods”, No. 3 from Triakontameron (E-c\u266f)Handel \u2013 Belshazzar, Chorus of Babylonians: “Ye tutelar gods of our empire, look down” (G-e)Handel \u2013 Concerto Grosso Op. 3 No. 1 (B\u266d-g)Handel \u2013 Suite for Harpsichord No. 2 in F, HWV 427, i (F-a)Haydn \u2013 Arianna a Naxos, Hob. XXVIb:2 (E\u266d-f)Miriam Hyde \u2013 “Marsh Birds” for Flute and Piano (D-b)Lalo \u2013 Rapsodie norv\u00e9gienne (A-d)Massenet \u2013 Piano Concerto (E\u266d-c)Mozart \u2013 Die Entf\u00fchrung aus dem Serail (The Abduction from the Seraglio), Aria, “Solche Hergelauf’ne Laffen” (F-a) (though the aria is interrupted by spoken dialogue after the full cadence in F major, before continuing in A minor at a new tempo)Mozart (completed by S\u00fcssmayr) \u2013 Requiem, VII. Communio (B\u266d-d) (ends on an open fifth in a D minor context)Mozart \u2013 Preludes K. 284a\/395, iii (B\u266d-c)Mozart \u2013 Preludes and Fugues K. 404, v (E\u266d-c)Mozart \u2013 Modulating Prelude, K. deest (F-e)Mussorgsky (completed by Stravinsky) \u2013 Khovanshchina (E-g\u266f)The key scheme in the opera is constructed mostly on a sharp-flat principle; thus the opening, reaching G\u266f major, is the sharpest music in the whole opera, and many portentions or descriptions of disaster in the opera are written in six or seven flats or even beyond. Mussorgsky intended an ending in A\u266d minor for the final scene, in which the Old Believers commit mass suicide; this was respected by Stravinsky in his completion, although written enharmonically for easier reading. Other completions do not respect this: Rimsky-Korsakov ends in A\u266d major, Shostakovich in F major. Valery Gergiev’s productions, though using Shostakovich’s completion, cut the final bars and end with an orchestral restatement of the Old Believers’ final chorus (as written by Rimsky-Korsakov and reorchestrated by Shostakovich) in G\u266f minor, thus following the original key scheme.Rudolf Peterka \u2013 Piano Trio Op. 6 (D-b)Poulenc \u2013 Piano Sextet, ii (D\u266d-a\u266d)Poulenc \u2013 Suite Francaise FP 80, ii (F-d)Poulenc \u2013 Trio pour piano hautbois et basson, ii (B\u266d-f)Poulenc \u2013 Gloria FP 177, i (G-b)Poulenc \u2013 Oboe Sonata FP 185, (G-a\u266d)Rheinberger \u2013 Piano Sonata Op. 47 (C-a)Satie \u2013 Gnossiennes Nos. 5 (G-e) and 6 (F-c)Schoenberg \u2013 Chamber Symphony No. 2, Op. 38, ii (G-e\u266d)Schubert \u2013 Die Nonne, D. 212 (A\u266d-f)Schubert \u2013 Grablied, D. 218 (A\u266d-f)Schubert \u2013 Erster Verlust, D. 226 (A\u266d-f)Schubert \u2013 Piano Sonata, D. 279 (C-a)However, some authorities consider this to be an unfinished work; two incomplete C-major movements (D. 346 and D. 309A) have been put forward as candidates for the missing finale, both of which would make this cease to be major\/minor.Schubert \u2013 Deutscher Tanz, D. 365 No. 22 (Op. 9 No. 22) (B-g\u266f)Schubert \u2013 Ritter Toggenburg, D. 397 (F-b\u266d)Schubert \u2013 Der Herbstabend, D. 405 (A\u266d-f)Schubert \u2013 Klage an den Mond, D. 436 (F-d)[60]Schubert \u2013 Edone, D. 445 (E\u266d-c)Schubert \u2013 Liedesend, D. 473 (E\u266d-e, both versions)Schubert \u2013 Didone Abbandonata, D. 510 (E\u266d-f)Schubert \u2013 Auf der Donau, D. 553 (Op. 21 No. 1) (E\u266d-f\u266f)[61]Schubert \u2013 Der Pilgrim, D. 794 (Op. 37 No. 1) (D-b, originally E-c\u266f)Schumann \u2013 R\u00e9plique, No. 8 of Carnaval (B\u266d-g)[62]Schumann \u2013 No. 16 of Davidsb\u00fcndlert\u00e4nze (G-b)Schumann \u2013 Kreisleriana, No. 4 (B\u266d-d) (first edition only)Smetana \u2013 The Bartered Bride, Aria, “Kdybych se co takov\u00e9ho” (B\u266d-g)W.G. Still \u2013 Symphony No. 3 (A-c)Tchaikovsky \u2013 The Sleeping Beauty \u2013 Finale and Apotheosis (D-g)Tchaikovsky \u2013 Six Pieces Op. 21, No. 1 “Prelude” (B-g\u266f)Vaughan Williams \u2013 Three Shakespeare Songs, “The Cloud Capp’d Towers” (D-f) (reverse Picardy third)Mykhailo Verbytsky\/Pavlo Chubynsky \u2013 “Shche ne vmerla Ukrainy i slava, i volia” (relative major-relative minor) (Ukrainian National Anthem)See also[edit]References[edit]^ Merrick, Paul. “The Role of Tonality in the Swiss Book of Annees de Pelerinage”. Studia Musicologica Academie Scientierum Hungericae, T. 39, Fasc. 2\/4 (1998), p. 371^ Fuller Maitland, John Alexander (1911). Brahms. New York: John Lane Company. p.\u00a0100.^ Cone, Edward T. and Robert P. Morgan. “Beyond Analysis”. Music. A View from Delft. Selected Essays (University of Chicago Press: Chicago 1989), p. 74.^ Trio Solisti \u2013 Program Notes 2014 by Miriam Villchur Berg^ The Alkan Society, Bulletin 32: April 1987^ Alkan: Esquisses Op 63 \u2013 Hyperion Records^ Hindson, Maurice. Brahms \u2013 The Shorter Piano Works. Alfred Music Publishing Co. (1992), p. 10.^ Catoire: Piano Music – CDH55425 – Georgy Catoire (1861-1926) – Hyperion Records – MP3s and Lossless downloads^ Huneker, James. Chopin: The Man and His Music, Courier Corporation (1960), p. 146.^ Fr\u00e9d\u00e9ric Chopin’s Nocturnes, Part I, 2015 \u2013 ClassicalConnect.com^ http:\/\/cnks.imslp.org\/files\/imglnks\/usimg\/4\/46\/IMSLP99159-PMLP200270-Couperin_-_Pieces_de_clavecin_Bk3.pdf[dead link]^ a b c Waltons Music: Mendelssohn Rondo Cappricioso in E major, Op. 14 (Piano)^ “CHAN 2025: An Introduction to Felix Mendelssohn” (PDF). Archived from the original (PDF) on 20 February 2015. Retrieved 20 February 2015.^ Todd, R. Larry. “Piano Music Reformed: Mendelssohn”. Nineteenth-Century Piano Music, ed. Todd, R. Larry, Routledge (2004), p. 191.^ Du Bose, Joseph. Rondo capriccioso, in E Major, Op. 14 Yakov Flier. ^ Purcell, Harmonia Sacra, Rosemary Joshua \u2013 eClassical^ Hyperion Records \u2013 Love arms himself in Celia’s eyes, Z392^ International Piano Quarterly Volumes 5\u20136, Gramophone Publications (2001), p. 44.^ Satie \u2013 Gymnopedie No. 1 | Classical Piano Pieces^ Scarlatti: Complete Keyboard Sonatas \u2013 Warner Classics Archived 3 April 2018 at the Wayback Machine, p. 7.^ Kirkpatrick, Ralph. “Anatomy of the Scarlatti Sonata”. Domenico Scarlatti: Revised Edition (Princeton University Press, 1983), p. 274.^ a b Marshall, Robert. “Domenico Scarlatti”. Eighteenth-Century Keyboard Music, Routledge (2004).^ Sutcliffe, W. Dean. The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style, Cambridge University Press (2008), p. 355.^ BBC Music Magazine: Schubert Moments Musicaux D780^ Franz Peter Schubert \u2013 Moments Musicaux, D. 780^ Wollenberg, Susan. Schubert’s Fingerprints: Studies in the Instrumental Works, Ashgate Publishing Ltd (2011), p. 24.^ Damschroder, David. Harmony in Schubert, Cambridge University Press (2010), p. 104.^ Howell, Cory. Schubert’s Winterreise Song Cycle, p. 10.^ Cooper, Imogen. Chandos \u2013 Imogen Cooper \u2013 CHAN 10841 Archived 16 February 2016 at the Wayback Machine^ Hatten, Robert. Performing Expressive Closure in Structurally Open Contexts: Chopin\u2019s Prelude in A minor and the Last Two Dances of Schumann\u2019s Davidsb\u00fcndlert\u00e4nze^ BBC \u2013 Proms \u2013 Programme note Strauss \u2013 Don Juan^ Osborne, Charles. The Concert Song Companion: A Guide to the Classical Repertoire, A Da Capo (1985).^ Wigmore, Richard. Beethoven: The Complete Music for Piano Trio, The Florestan Trio \u2013 Hyperion Records^ Spitzer, Michael. Music as Philosophy: Adorno and Beethoven’s Late Style, Indiana University Press (2006), p. 136.^ a b Kerman, Joseph. “Beethoven’s Minority”. Write All These Down: Essays on Music, University of California Press (1994), p. 220.^ Chausson, E.: Concert for Violin, Piano and String Quartet \/ Piano Trio (Meadowmount Trio, Wihan String Quartet) \u2013 Naxos^ Hicks, Anthony. “Late Additions to Handel’s Oratorios”. Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, ed. Hogwood, Christopher and Richard Luckett, Cambridge University Press (1983), p. 150.^ Kreuger, Stephen. Handel’s Messiah Untold^ Deruchie, Andrew. The French Symphony at the Fin de Si\u00e8cle: Style, Culture, and the Symphonic Tradition, Boydell & Brewer (2013), pp. 114\u201315.^ Bitzan, Wendelin. “A Milestone of Symbolist Music: A Multi-Perspective Examination of Nikolai Medtner’s Sonata-Ballade, Op. 27″. Nikolai Medtner’s Early Piano Sonatas: Analytic Studies on their Genesis, Style, and Compositional Technique, (Berlin University of the Arts, Faculty of Music, 2016), p. 41^ This movement was originally intended to be a stand-alone “Ballade”.^ Wilson, Conrad. Notes on Mendelssohn: 20 Crucial Works, Wm. B. Eerdmans Publishing (2005), p. 30.^ Todd, R. Larry. “Wanderlust”. Mendelssohn Studies, Cambridge University Press (2006), p. 225.^ Redwood Symphony Program Notes: Sibelius, Symphony No. 4^ Piano Trio in A minor, Op. 50 (Tchaikovsky) \u2013 from CDH55322 \u2013 Hyperion Records^ Vivaldi: Concertos for Strings \u2013 Naxos^ a b Classical Net Review \u2013 Weinberg \u2013 String Quartet #4 & 16^ Prevot, Dominique. “Rare works for Piano”. Ludwig van Beethoven’s website.^ “Piano Sonata in D, Biamonti 213 (1792-93?)”. The Unheard Beethoven, Inc.^ Donat, Misha. Hyperion Records: Trio for piano, violin and cello in B major, op. 8^ a b Hepokoski and Darcy. “The Three- and Four-Movement Sonata Cycle”. Elements of Sonata Theory (Oxford University Press, 2006). p. 336.^ Robertson, David. Sydney Symphony Orchestra \u2013 2015 Season Archived 21 February 2015 at the Wayback Machine^ Fuchs: Piano Sonatas Op. 19 and Op. 88 \u2013 Naxos; or just see score @ IMSLP.^ see score @ IMSLP^ Amazon.com: George Frideric Handel, Concerto Grossi^ Hummel: Piano Trios \/ Piano Quartet in G major \/ Cello Sonata \u2013 Naxos; see also IMSLP^ G\u00edslason, Donald G. Vancouver Recital Society: Program Notes \u2013 Emanuel Ax^ Jones, Evan Allan. Intimate Voices: Shostakovich to the Avant-Garde. Dmitri Shostakovich: The String Quartets (University of Rochester Press: Rochester 2009), p. 8.^ Bell, John. Fejes Quartet: Sunday 8 June 2014 at 7:30pm \u2013 Music Nairn^ Puchi, Richard Navarrete. Performance and Analysis of Lieder.^ Platt, Heather. Schubert’s Poets and the Making of Lieder. \u2013 Free Online Library^ Wadsworth, Benjamin K. 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