as the "Time of Day" symphonies 6–8. These are, however, rightfully considered symphonies rather than sinfonie concertanti. Other examples from the era are Kozeluch's Sinfonia Concertante in E flat major for mandolin, trumpet, double-bass, piano, Gossec's Symphonie Concertante for Violin and Cello in D major and Gresnick's Symphonie Concertante in B flat major for Clarinet and Bassoon. Romantic Era Few composers still called their compositions sinfonia concertante after the classical music era. However, some works such as Berlioz's Harold en Italie, for viola and orchestra approach the genre. Ludwig van Beethoven did not write anything designated as a sinfonia concertante, although some feel his Triple Concerto qualifies for inclusion in the genre. Felix Mendelssohn wrote two concertos for two pianos and orchestra: one in E major and one in A-flat major, which can both be seen as sinfonie concertanti. Saint-Saëns' Symphony No. 3 features an organ that is partially immersed in the orchestral sound, but also has several distinct solo passages. The second half of this work also features a semi-soloistic part for piano four hands. By the end of the 19th century, several French composers had started using the sinfonia concertante technique in symphonic poems, for example, Saint-Saëns uses a violin in Danse macabre, and Franck a piano in Les Djinns. Richard Strauss's Don Quixote (1897) uses several soloists to depict the main characters, namely cello, viola, bass clarinet and tenor tuba. Lalo's best known work, the Symphonie espagnole, is in fact a sinfonia concertante for violin and orchestra. A work in the same vein, but with the piano taking the "concertante" part is d'Indy's Symphony on a French Mountain Air. Brahms's concerto for violin, cello and orchestra in a minor, Op. 102, the last of his four concertos, is effectively a sinfonia concertante. Bruch explored the boundaries of the solistic and symphonic genres in the Scottish Fantasy (violin soloist), Kol Nidrei (cello soloist), and Serenade (violin soloist). He also wrote a concerto for clarinet, viola and orchestra in E minor, and a concerto for two pianos and orchestra in A-flat minor, which are both equal to a sinfonia concertante. Ferruccio Busoni wrote an enormous piano concerto in C major, containing five movements, lasting over an hour and even finishing with a male choir, that can be considered a sinfonia concertante. 20th century In the 20th century, some composers such as George Enescu, Darius Milhaud, Frank Martin, Edmund Rubbra,