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| German composer of 250 lieder, best known for adapting Wagner’s methods to the German lied – fused poetry with music. |
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| German composer known for large orchestras, which he would concert down to few instruments at a time. Influenced Schoenberg, Berg, and Webern. Songs play large role in symphonies, 4 of which include voice. |
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| German composer and famous conductor, led most of the world’s best orchestras. Wrote symphonic poems modeled after Liszt and Berlioz.-Colorful orchestration, Thematic transformation, programs based on literature. *Wrote opera and lieder. |
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| Father of Russian Music, first Russian composer to be recognized internationally. Wrote political music, used whole-tone techniques. Wrote A Life for the Tsar and Ruslan and Lyudmila. |
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| Russian composer not interested in pursuing a national style, though he used some Russian thematic subjects. |
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| Group of 5 composers who stood against the professionalism of the conservatories. *Incorperated Russian folk song, modal and exotic scales, and folk polyphony. |
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| Only composer of the mighty 5 to have conventional training in music. |
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| Most original of the mighty five, known for novel harmonic progressions. Composed opera, instrumental works, etc. |
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| Father of French Chamber music, known for his cosmopolitan style of composing. Born in Belgium. Wrote in classical forms, used thematic transformation. Composed cyclically. Enriched basically homophonic textures with counterpoint. |
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| Master of orchestration, one of mighty 5 who taught as a professor. Taught Stravinsky. Sheherazade is of his best-known works. Wrote 15 operas. Best known for programmatic orchestra pieces. |
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| Bohemian composer who was a strong nationalist, wrote symphonic poems. |
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| Norwegian composer of incidental music. Nationalistic, wrote folk songs and peasant dances for piano. |
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| First English composer to gain international recognition in over 200 years. Did NOT adapt a nationalistic style, rather he drew upon styles of Wagner and Brahms. Known for ENIGMA VARIATIONS. |
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| French composer of fundamental French style. Uses undirecitonal harmony, diluting need for resolution. Develops new style in which melodic lines are fragmented and harmony is less driven. Studied under Saint-saens. Professor at Paris Conservatoire. |
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| Italian composer of opera, studied in Milan. Blended Verdi’s vocal style with Wagner’s approach, including leitmotifs. His scenes are more fluid than in earlier operas. |
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