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| Robert Schumann, Piano Collection, his first publication for solo piano |
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Felix Mendelssohn, Symphony. Programmatic work inspired by his many travels.
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| Pyotr Il’yich Tchaikovsky, Symphony, inspired by the writings of Lord Byron |
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| Pyotr Il’yich Tchaikovsky, Symphony, demonstrates experimentation with the symphonic structure (last movement is a slow movement), and his underlying sense of pathos |
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Felix Mendelssohn, Symphony.
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| Gustav Mahler, Symphony, shows is preoccupation of life and earth, humankind’s purpose on earth |
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| Robert Schumann, Symphony |
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| Felix Mendelssohn, Symphony. Programmatic work inspired by his many travels. |
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| Robert Schumann, Symphony |
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| Gustav Mahler, Symphony, demonstrates how he expanded performing forces on a grand scale |
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| Sergei Prokofiev, vocal music |
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| A Midsummer Night’s Dream |
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| Felix Mendelssohn, Overture and Incidental Music, demonstrates his hallmark style: Light, scherzando writing. Of his earliest masterpieces, composed while in his teens |
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| Arnold Schoenberg, Cantata, liberal approach to 12-tone music in his American Period (1933-1951) |
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| Academic Festival Overture |
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| Johannes Brahms, Concert Overture, one of the pairs of concert overtures which were written as a thank you to the University of Breslau for his honorary doctorate. |
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| Jean Coulthard, Piano music |
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| Giuseppe Verdi, Opera, 2nd period, demonstrates his choruses filled with nationalism, ‘O patria mia’ |
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| Sergei Prokofiev, Film score, shows his Russian nationalism |
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| Bela Bartok, Piano music, inspired by primitivism of Stravinsky |
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| Johannes Brahms, Vocal work with orchestra |
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| Andante and Rondo Capriccioso |
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| Felix Mendelssohn, Piano work |
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| Felix Mendelssohn, Incidental Music |
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| Richard Wagner, Literary work |
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| Richard Wagner, Literary work, where he descbies Gesamtkunstwerk |
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| Gyorgy Ligeti, Orchestral work |
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| Bela Bartok, Opera, expressionist elements |
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| Maurice Ravel, Ballet, shows Spanish influences |
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| Arnold Schoenberg, Lied cycle |
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| Jean Coulthard, Orchestral Music, shows influence by Aaron Copland, with her quiet, searching string quality |
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| Cantate Domino canticum novum |
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| Arvo Part, Sacred choral work |
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| Pyotr Il’yich Tchaikovsky, Concert Overture |
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| Robert Schumann, Piano Collection |
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| Bela Bartok, Orchestral music |
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| Maurice Ravel, Song Collection |
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| Jean Coulthard, Vocal music |
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| Steve Reich, Electronic Music, shows his use of Phase Shifting |
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| Bela Bartok, Chamber music, trio, famous recording made with him, Joseph Szigeti and Benny Goodman |
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| Jean Coulthard, Piano work, cosmic imagery |
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| Franz Liszt, Program Symphony |
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| Maurice Ravel, Ballet, commissioned by Sergei Dhiaghilev and Les Ballets Russes |
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| Das Buch der Hangenden Garten |
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| Arnold Schoenberg, Lied cycle, the first piece that completely abandons atonality |
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| Gustav Mahler, Orchestral Song Cycle |
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| Richard Wagner, Opera composed in his Dresden years, departed from traditional operatic traditions |
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| Der Meistersinger von Nurnberg |
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| Richard Wagner, Opera/Music Drama cycle |
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| Gustav Mahler, Orchestral Song Cycle |
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| Gyorgy Ligeti, Piano music, shows his use of additive meter |
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| Sergei Prokofiev, Piano music, demonstrates his search for innovation through rhythmic complexities, dissonance, percussive effects to piano writing |
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| Robert Schumann, Song Cycle, inspired by Heinrich Heine his favourite source for Lieder |
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| Richard Wagner, Opera, his first ever composed. Never played during his lifetime |
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| Arnold Schoenberg, vocal work |
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| Giuseppe Verdi, Opera, 2nd period |
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| Steve Reich, Chamber music, awarded Pulitzer Prize for this piece in 2009 |
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| Steve Reich,Chamber Music, shows his emphasis on the slow evolution of musical elements |
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| Ein Deutsches Requiem Op. 45, 4th Movement |
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| Johannes Brahms, Sacred Choral Work |
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| Felix Mendelssohn, Oratorio |
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| Arnold Schoenberg, Opera, monodrama, for one character |
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| Pyotr Il’yich Tchaikovsky, Opera |
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| Giuseppe Verdi, Opera, 3rd period, collaboration with Arrigo Boito |
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| Franz Liszt, Program Symphony |
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| Richard Wagner, Concert Overture |
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| Felix Mendelssohn, Overture, inspired by his many travels |
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| Five Songs for Dark Voice |
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| Harry Somers, Vocal music |
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| Five Songs of the Newfoundland Outports |
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| Harry Somers, Vocal music |
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| Four Serious Songs, Op. 121 |
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| Johannes Brahms, Lieder Cycle, written in anticipation of Clara Schumann’s death 1896 |
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| Arvo Part, String ensemble, piece that brought him to international prominence |
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| Robert Schumann, Song Cycle |
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| Bedrich Smetana, String Quartet (chamber music) |
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| Arvo Part, Piano music, features tintinnabulation (widely spaced pitches, open intervals, sonorous pedal tone) |
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| Maurice Ravel, Piano work |
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| Robert Schumann, his only Opera |
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| Gyorgy Ligeti, Electronic Work |
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| Arnold Schoenberg, Cantata |
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| Arnold Schoenberg, Literary work (Harmonic treatise) |
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| Maurice Ravel, Song Collection |
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| Johannes Brahms, Piano work |
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| Franz Liszt, Piano work and Concerto (transcribed), demonstrates elements of Hungarian folk and gypsy music |
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| Giuseppe Verdi, Opera, 1st Period |
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| Sergei Prokofiev, Film score |
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| Maurice Ravel, Piano work, shows impressionism in his music |
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| Gustav Mahler, Orchestral Song Cycle |
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| Arnold Schoenberg, vocal work |
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| Bela Bartok, Symphonic Poem, his first major success |
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| Robert Schumann, Piano Collection, inspired by E.T.A. Hoffmann |
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| L’enfant et les sortileges |
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| Maurice Ravel, Opera, shows his humour and naive charm |
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| Maurice Ravel, Opera, shows Spanish influence |
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| Franz Liszt, Etude, demonstrates his virtuosity, use of thematic transformation , interest in programmatic elements |
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| Giuseppe Verdi, Opera, First Period, demonstrates early bel canto influences, coloratura soprano aria Sempre Libera. Based on Dumas’ writing, of his preferred authors due to many dramatic possibilities in plot |
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| Giuseppe Verdi, Opera, 2nd period |
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| Maurice Ravel, Orchestral music |
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| Maurice Ravel, Piano work, composed in memory of his mother and those who fell in the war |
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| Franz Liszt, Symphonic Poem, demonstrates his use of thematic transformation |
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| Johannes Brahms, Lieder Collection, for 4 voices and 4 hand piano-duet accompaniment |
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| Lieder eines fahrenden Gesellen |
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| Gustav Mahler, Orchestral Song Cycle |
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| Robert Schumann, Song Cycle |
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| Sergei Prokofiev, Film score |
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| Richard Wagner, Opera, premiered by condector Franz Liszt |
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| Harry Somers, Opera, shows his search for authenticity by using 4 languages in one opera: English, French, Latin and Cree |
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| Giuseppe Verdi, Opera, 1st Period, based on Shakespeare (of his preferred writers for librettos, sought texts with many dramatic possibilities) |
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| Johannes Brahms, Lieder Collection |
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| Maurice Ravel, Piano work, first published work, while he was still in the Conservatoire |
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| Giuseppe Verdi, Sacred choral and orchestral work, created in honour of writer Alessandro Manzoni |
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| Bela Bartok, Piano music, pedagogical work |
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| Maurice Ravel, Piano work |
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| Bela Bartok, Orchestral music |
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| Jean Coulthard, Piano music, pedagogical work |
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| Bedrich Smetana, Cycle of 6 Symphonic Poems, demonstrates cyclical unity |
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| Harry Somers, Orchestral music |
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| Harry Somers, Piano music |
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| Franz Liszt, Piano work, work that foreshadows Impressionism |
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| Giuseppe Verdi, Opera, 1st Period, 1st success |
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| Franz Mendelssohn, Chamber Work. Of his earliest masterpieces, composed while still in his teens |
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| Richard Wagner, Literary work, where he describes techniques employed to compose Der Ring cycle |
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| Giuseppe Verdi, Opera, 3rd period, collaboration with Arrigo Boito |
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| Bela Bartok, Piano music, dissonance verging on atonality |
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| Stephen Sondheim, Musical, shows his ‘concept’ musical |
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| Robert Schumann, Piano Collection, inspired by writings of Jean Paul |
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| Richard Wagner, Opera, composed in 1882 to aid the indebted Bayreuth theater |
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| Pavane pour une infante defunte |
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| Maurice Ravel, Piano work |
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| Arnold Schoenberg, Symphonic poem |
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| Bela Bartok, Orchestral Music |
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| Piano Concerto for the Left Hand |
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| Harry Somers, Orchestral music |
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| Harry Somers, Orchestral Suite, shows his style of ‘light music’ |
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| Arnold Schoenberg, Song cycle, klangfarbenmelodie and sprechstimme. Expressionist work |
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| Gyorgy Ligeti, shows his humour and satire, scored for 100 metronomes |
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| Maurice Ravel, Orchestral Rhapsody, shows his spanish influences |
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| Richard Wagner, Rienzi, his first success premiered by Dresden Hoftheater |
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| Giuseppe Verdi, Opera, Second Period, demonstrates use of recurrent motives, here the “Curse” motive |
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| Gyorgy Ligeti, Gyorgy Ligeti, shows his traditional folk influences |
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| Sergei Prokofiev, Ballet, adapted into 3 orchestral suites and a collection of 10 piano pieces |
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| Romeo and Juliet Overture |
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| Pyotr Il’yich Tchaikovsky, Concert Overture |
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| Sergei Prokofiev, Piano music |
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| Robert Schumann, Piano Collection |
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| Pyotr Il’yich Tchaikovsky, Concert Overture |
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| Maurice Ravel, Song Collection |
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| Sic Little Pieces, op. 19 |
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| Arnold Schoenberg, Piano work |
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| Richard Wagner, Symphonic Poem |
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| Six Characteristic Pieces, Op. 1 |
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| Bedrich Smetana, Piano work, dedicated to Liszt whom he admired for his programmatic works (symphonic poems especially) and who helped him arrange for their publication |
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| Harry Somers, Orchestral Music |
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| Sonata for Two Pianos and Percussion |
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| Bela Bartok, Chamber music |
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| Bela Bartok, Piano music, shows his Neo-Classical elements |
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| Maurice Ravel, Piano work |
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| Felix Mendelssohn, Piano work |
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| Jean Coulthard, Song cycle, comissioned by contralto Maureen Forrester |
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| Felix Mendelssohn, Oratorio |
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| Harry Somers, Piano music, the most frequently performed piano piece by a Canadian composer |
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| Pyotr Il’yich Tchaikovsky, Ballet |
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| Sweeney Todd: The Demon Barber of Fleet Street |
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| Stephen Sondheim, Musical, shows his affinity for challenging issues, complex characters, mastery of counterpoint, integration of the character, action, music and text |
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| Robert Schumann, Piano Collection |
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| Richard Wagner, Opera, composed in his Dresden years, departed from traditional opera |
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| Bedrich Smetana, Opera, demonstrates where he writes original melodies the resemble true Bohemian folk songs |
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| Jean Coulthard, Orchestral music |
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| The Brandenburgers in Bohemia |
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| Bedrich Smetana, Opera, demonstrates his Bohemian nationalism and patriotic fervor, based on historical subject |
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| The Love for Three Oranges |
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| Sergei Prokofiev, Opera, premiered in Chicago |
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| Pyotr Il’yich Tchaikovsky, Ballet |
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| Jean Coulthard, Orchestral music, displays her nationalism, quotation of Canadian folk songs |
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| Pyotr Il’yich Tchaikovsky, Opera, inspired by a novel by Pushkin |
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| Pyotr Il’yich Tchaikovsky, Piano work |
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| Pyotr Il’yich Tchaikovsky, Ballet |
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| Sergei Prokofiev, vocal music |
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| Bela Bartok, One-act Ballet |
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| Theme and variations for piano on B-A-C-H |
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| Jean Coulthard, piano work |
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| Three Piano Pieces, op. 11 |
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| Arnold Schoenberg, Piano work |
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| Sergei Prokofiev, vocal music |
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| Sergei Prokofiev, Piano music, reflects the motoric drive to his music |
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| Johannes Brahms, Concert Overture |
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| Transcendental Etudes (Etudes d’execution transcendental d’apres Paganini) |
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| Franz Liszt, included transcribed symphonies by Beethoven, Lieder by Schubert, operatic fantasies and opera aria |
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| Richard Wagner, Opera, premiered by Hans von Bulow in Munich |
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| Giuseppe Verdi, Opera, 3rd period |
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| Felix Mendelssohn, Piano work |
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| Johannes Brahms, Lied in modified strophic form |
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| Arnold Schoenberg, Chamber music, post-romantic period until 1908 |
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| Violin Concerto in E Minor, Op. 64 |
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| Felix Mendelssohn, Concerto, demonstrates his innovation to the Concerto genre, seamless linking of movements inspired by Beethoven |
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| Sergei Prokofiev, Piano music |
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| Harry Somers, Vocal music |
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| Sergei Prokofiev, Opera, collaborated on by Mira Mendelssohn, his second wife who was a poet |
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| Richard Wagner, Lied cycle |
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| Vingt regards sur l’enfant Jesu |
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| Olivier Messiaen, Piano music |
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| Olivier Messiaen, Opera, late work |
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| Olivier Messiaen, Orchestral Music |
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