Lastly the relatively new oceanic/ozone family of scents are synthetically made to emulate fresh smells such as that of the ocean, mountain air or newly washed linen.
It is important to remember that many perfumes are made up from more than one category type and that a few ingredients in each type can crossover into another.
In the 18th and early 19th centuries, perfumes were still sold in the small shops where they were made. However, by the late nineteenth century, the production of perfume started to become industrialised with the use of synthetic materials, when technical advances made it possible.
In recent years there has been an increasing emphasis on using pure essential oils in perfume. This follows the huge global popularity of organics and an increasing environmental awareness. For decades, aromatherapists have believed that using pure essential oils can have a positive effect on the human body, both physically and psychologically. Perfume manufacturers are now also recognising the health and mood-enhancing benefits of using natural plant oils in their fragrances.
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When Franz Liszt (1811 - 1886) gave up the life of a traveling piano virtuoso to devote himself to composition in 1847 it was with the encouragement of the woman in his life, Princess Carolyne zu Sayn-Wittgenstein. He spent one winter with the Princess before he accepted a long-standing offer to go to Wiemar as Kapellmeister at the court there. It was during his tenure there that he wrote many of his most well known compositions for orchestra.
While Liszt had a total command of the piano, he knew little about orchestration and instrumentation. He learned quickly, and became a master of the orchestra as well as the piano. He hired musicians that knew how to orchestrate and would have them orchestrate his piano versions of works. He would then use them as examples and then re-orchestrate the piece himself, using what the had learned. A Faust Symphony was the first work the Liszt orchestrated without any help, and even felt well versed enough to write out the 'Gretchen' movement of the work straight out into full score without a piano sketch. He completed the score in 1854.
The legend of Faust dealing with Mephistopheles for knowledge at the price of his soul, and of the love he had for Gretchen attracted many Romantic era composers. Berlioz wrote a cantata/opera on the theme, Wagner an Overture, and the popular opera by Gounod . Liszt had sketched some ideas for a piece of his own based on Goethe's story as early as 1840 while he was still a traveling virtuoso.
Liszt used a technique in this, as well as most of his other large works, called thematic transformation or metamorphosis. Simply put, it is basing an entire work on a theme or themes that appear at various times in the composition and are changed for dramatic effect. It is essentially a type of theme variation as used by many composers earlier, but it is done with more freedom and the altered theme no longer has a connection with the original, but has a life of its own.
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