Claude Debussy likewise switches from D-flat major to C-sharp minor in the significant section in his famous "Clair de lune" for a few measures.

Antonín Dvořák's New World Symphony also switches to C-sharp minor for a while for the significant section in the slow movement.

[1] Despite this, when he came to orchestrate Carl Maria von Weber's piano piece Invitation to the Dance in 1841, he transposed it from D-flat to D major, to give the strings a more manageable key and to produce a brighter sound.

A part of the trio of Scott Joplin's "Maple Leaf Rag" is written in D-flat major.

Sergei Rachmaninoff composed the famous 18th variation of his Rhapsody on a Theme of Paganini in this key, perhaps emphasizing the generally held view that D-flat major is the most romantically flavored of the major keys; and his friend Nikolai Medtner similarly chose it for the sensually romantic "big tune" in the last movement of his Piano Concerto No.

Claude Debussy also composed the famous "Clair de lune" in this key, with a significant section in C-sharp minor.

Franz Liszt composed heavily in this key, with his most recognizable piece being the third movement of his piano composition Trois études de concert, dubbed "Un sospiro".

The first piano concerto of Sergei Prokofiev is also written in D-flat major, with a short slow movement in G-sharp minor.

Choral writing explores D-flat infrequently, notable examples being Robert Schumann's Requiem, Op.

148, Gabriel Fauré's Cantique de Jean Racine[4] and Sergei Rachmaninoff's "Nunc Dimittis" from his All-Night Vigil, Op.