Well-known examples from the middle to late Romantic era include concertos by Edvard Grieg, Johannes Brahms, Camille Saint-Saëns, Franz Liszt, Pyotr Ilyich Tchaikovsky, and Sergei Rachmaninoff. Alexander Scriabin, Antonín Dvořák, Edward MacDowell, and Franz Xaver Scharwenka wrote some lesser-known concertos during this time. In 1899, Amy Beach completed her Piano Concerto in C-sharp minor, the first piano concerto composed by a female American composer. Edward Elgar made sketches for a piano concerto but never completed it. In the 19th century, Henry Litolff blurred the boundary between piano concerto and symphony in his five works entitled "Concerto Symphonique", and Ferruccio Busoni added a male choir in the last movement of his hour-long concerto. Wilhelm Furtwängler wrote his Symphonic Concerto for Piano and Orchestra, which lasts more than one hour, in 1924–1937. In a more general sense, the term "piano concerto" could extend to the numerous often programmatic concerted works for piano and orchestra from the era – Beethoven's "Choral Fantasy," Liszt's "Totentanz" and "Ruins of Athens" Variations, and Richard Strauss's "Burleske" are only a few of the hundreds of such works. The few well-known piano concertos that dominate 20th-century and 21st-century concert programs and discographies comprise only a small part of the repertoire that proliferated on the European music scene during the 19th century.