Here is the opening of Haydn's The Creation where chaos is depicted with empty octaves and then minor mode:
When God says "let there be light", C major bursts forth gloriously--just after the 2 minute mark in the next clip:
Taking this idea to a more intense level Beethoven writes his 5th Symphony in C minor, but casts the finale, as if a triumph against great odds, in C major. The whole symphony is organized in this way, but the last two movements show the transition from C minor to C major which occurs at 8:36 in this clip. Alas, the last movement is cut short, so I will put up another clip just of the finale.
That was the first time trombones were used in a symphonic, as opposed to operatic, context. All these examples have made the same move, from minor to major, in the same key: C. But there is one final example where the idea is distilled down to an essential form:
After that, the idea was pretty much exhausted. At least in its C minor to C major form in an orchestral context. It had been used so powerfully and so definitively that composers no longer wanted to touch it. But in a different kind of context and in a much less dramatic way, the idea of fluctuating between major and minor continued to be used to express the fluctuating fortunes of a romantic relationship. But now in A minor and major, not C: