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There are only two known symphonies in the 18th century written in this key. One of them is by [[Joseph Martin Kraus]], who appears to have found the key difficult since he later rewrote it in [[C minor]]. In the following two centuries, C-sharp minor symphonies remained rare. Notable examples are the second movement Adagio of [[Anton Bruckner]]'s [[Symphony No. 7 (Bruckner)|Symphony No. 7]], the first movement of [[Gustav Mahler]]'s [[Symphony No. 5 (Mahler)|Symphony No. 5]]<ref>Constantin Floros, translated by Vernon Wicker: ''Gustav Mahler: The Symphonies'' (Portland, Oregon: Amadeus Press, 1985) p. 141 "the choice of key of the movements (C-sharp minor – A minor – D major – F major – D major);" - however, Mahler did not apply any key to the 5th symphony as a whole</ref> and [[Sergei Prokofiev|Prokofiev]]'s [[Symphony No. 7 (Prokofiev)|Symphony No. 7]].
This key occurs more often in piano literature from the 18th century onwards. [[Domenico Scarlatti]] wrote just two keyboard sonatas in C-sharp minor, K. 246 and K. 247. After [[Ludwig van Beethoven|Beethoven]]'s [[Piano Sonata No. 14 (Beethoven)|Piano Sonata No. 14]] (''Moonlight Sonata''), the key became more frequent in the piano repertoire. Beethoven himself used this key again in the outer movements of his [[String Quartet No. 14 (Beethoven)|String Quartet No. 14]] (Op. 131, 1826). Even so, [[Johannes Brahms]] still felt the need to rewrite his C-sharp minor piano quartet in C minor, which was published as [[Piano Quartet No. 3 (Brahms)|Piano Quartet No. 3 in C minor, Op. 60]].{{citation needed|date=March 2020}} The last intermezzo from his [[Three Intermezzi for piano, Op. 117 (Brahms)|Three Intermezzi for piano, Op. 117]] is in C-sharp minor.
[[Charles-Valentin Alkan|Alkan]] composed the second movement (Adagio) for [[Concerto for Solo Piano (Alkan)|Concerto for Solo Piano]] in C-sharp minor.
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