The use of incidental music dates back at least as far as Greek drama. A number of classical composers have written incidental music for various plays, with the more famous examples including Henry Purcell's "Abdelazer" music, George Frideric Handel's "The Alchemist" music, Joseph Haydn's "Il distratto" music, Wolfgang Amadeus Mozart's "Thamos, King of Egypt" music, Ludwig van Beethoven's "Egmont" music, Carl Maria von Weber's "Preciosa" music, Franz Schubert's "Rosamunde" music, Felix Mendelssohn's "A Midsummer Night's Dream" music, Robert Schumann's "Manfred" music, Georges Bizet's "L'Arlésienne" music, and Edvard Grieg's "Peer Gynt" music. Parts of all of these are often performed in concerts outside the context of the play. Vocal incidental music, which is included in the classical scores mentioned above, should never be confused with the score of a Broadway or film musical, in which the songs often reveal character and further the storyline. Since the score of a Broadway or film musical is what actually makes the work a "musical", it is far more essential to the work than mere incidental music, which nearly always amounts to little more than a background score; indeed, many plays have no incidental music whatsoever.