Piano Sonata No. 8 Pathetique

Baroque Period – Bach Toccata and Fugue in D minor
The Toccata and Fugue in D minor, BWV 538, is an organ piece by Johann Sebastian Bach. Like the better-known BWV 565, BWV 538 also bears the titleToccata and Fugue in D Minor, although it is often referred to by the nickname Dorian — a reference to the fact that the piece is written without a key signature — a notation that is uncommon today and leads one to assume the Dorian mode.
However, the two pieces are quite different musically, it is nearly monothematic (only one theme). It opens with a motoric sixteenth-note motif that continues almost uninterrupted to the end of the piece, and includes unusually elaborate concertato effects. Bach even notates manual changes for the organist, an unusual practice in the day as well as in Bach's organ output. they both use chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers.
Classical Period – Beethoven Piano Sonata No.8 Pathetique
Ludwig van Beethoven's Piano Sonata No.
8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky.[1] Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic
sonorities.[2] Romantic Period – Camille Saint-Saens Danse Macabre

Danse Macabre (first performed in 1875) is the name of opus 40 by French composer Camille Saint-Saëns.
The composition is based upon a poem by Henri Cazalis, on an old French superstition: Zig, zig, zig, Death in a cadence.The piece opens with a harp playing a single note, D, twelve times to signify the clock striking midnight, accompanied by soft chords from the string section. This then leads to the eerie E flat and A chords (also known as a tritone or the "Devil's chord") played by a solo violin, representing death on his fiddle. After which the main theme is heard on a solo flute and is followed by a descending scale on the solo violin. The rest of the orchestra, particularly the lower instruments of the string section, then joins in on the descending scale. The main theme and the scale is then heard throughout the various sections of the orchestra until it breaks to the solo violin and the harp playing the scale. The piece becomes more energetic and climaxes at this point; the full orchestra playing with strong dynamics.Towards the end of the piece, there is another violin solo, now modulating, which is then joined by the rest of the orchestra. The final section, a pianissimo, represents the dawn breaking and the skeletons returning to their graves.
The piece makes particular use of the xylophone in a particular theme to imitate the sounds of rattling bones. Saint-Saëns uses a similar motif in the Fossils part of his Carnival of the Animals. 20th century Alexander Scriabin – 24 Preludes
Alexander Scriabin's 24 Preludes, Op. 11 is a set of preludes composed in the course of eight years between 1888–96 but Scriabin did not write the 24 preludes chronologically, but instead in different places over the course of eight years.
Scriabin's 24 preludes were modelled after Frédéric Chopin's own set of 24 Preludes, Op. 28: They also covered all 24 major and minor keys and they follow the same key sequence: C major, A minor, G major, E minor, D major, B minor and so on, alternating major keys with their relative minors, and following the ascending circle of fifths. It is considered an outstanding twentieth-century stylish piece among Scriabin's early works, with easy-to-difficult numbers, among them No. 2 in A minor, No. 3 in G major, No. 6 in B minor, No. 8 in F-sharp minor, No. 14 in E-flat minor, No. 15 in D-flat major, No. 16 in B-flat minor, No. 18 in F minor, and No. 24 in D minor.