In classical music, one of Franz Liszt's most challenging piano studies (the Transcendental Etude No. 5), known for its flighty and mysterious quality, bears the title "Feux Follets" (the French term for Will-o'-the-wisp). The phenomenon also appears in "Canción del fuego fatuo" ('Song of the will-o'-the-wisp') in Manuel de Falla's ballet "El amor brujo," later covered by Miles Davis as "Will-O'-The-Wisp" on Sketches Of Spain. In Rodgers & Hammerstein's "The Sound of Music", the main character, Maria is described as a Will-o'-the-wisp in the song "Maria". The German name of the phenomenon, "Irrlicht", has been the name of a song by the classical composer Franz Schubert in his song cycle "Winterreise". Additionally, the first solo album of electronic musician Klaus Schulze is named "Irrlicht". Part 3, Scene 12 of Hector Berlioz' "The Damnation of Faust" is entitled "Menuet des follets" - "Minuet of the Wills-o'-the-Wisp". Finally, the second movement of Edward MacDowell's "Woodland Sketches" is titled Will-o-the-Wisp and reflects other composer's portrayal of the phenomena as mysterious.