[ First, a correction: The version of Stravinsky's Le Sacre du Printemps in Disney Fantasia is a chopped-up set of various segments from the piece (butchered, really) played out of the original sequence as originally composed. Hack Job.]
There is this 'problem' I have, exactly of some teacher somewhat pandering to students with analogies of Rock Music or any pop genre to 'tie in' the immediacy of music for an audience of another time.
One most common "Rock Star" as perfoming analogy is often assigned to Franz Liszt. His piano music was, for the time, startling in its virtuoso flights, and 'effects' of rapid upward or downward sweeps of arpeggios, etc. (mega-chops, barnstorming.) Both men and women fainted from overwrought emotion (and I bet corsets and too little air from an extensively candlelit room) when hearing him play.
Liszt, knowing he had these frenzied followers, would walk to the piano, wearing expensive kid gloves, take them off, dramatically set them on the piano, play the concert, occasionally wipe the sweat from his brow with them (real - or more 'theater' shtick?) and deliberately leave them behind knowing enough fans would swarm the piano to grab the gloves; like fans of pop stars generations later fight over the performer's clothing and / or tear the articles off or to shred, all wanting "a piece of them."
That later string quartet where Beethoven really began to lose his audience is difficult to imagine described as perceived as rock, especially the overall dimension of a quartet and a salon-sized space and audience do not conjure up a real flap, even if the audience were driven out by the music.
In that context of another time, Beethoven's Symphony No. 7 was so strongly rhythm-driven, even in the slower movements, and has such a dance-like drive and feel that Richard Wagner later called it "the apotheosis of the dance."
It was generally very well-received, some saying there had never been anything so spontaneous sounding, but others were less charitable and there was, with this larger symphonic work, a larger venue and more of a critical flap. Even at the height of the later classical era (Beethoven was never a 'romantic' composer), this was a very non-restrained piece. Secondly, for some, he had shattered too many of the old expectations, and the 'politeness' of concert music. Even today, it sounds like an unihibited romp, fairly 'unbuttoned.'
Carl Maria von Weber, criticizing, it seems, "a chromatic bass line in the coda of the first movement," LOL, (academic, but that is how classical musicians often enough talk about music), cited that passage in making his case Beethoven was "ripe for the madhouse."
The third movement Scherzo is a real romp, (link three): of this movement, a 20th century conductor said, "What can you do with it? It is like a bunch of Yaks running around."
The fourth movement, Allegro, is also thriving and exhuberent, formally structured, but again, pretty 'unbuttoned' in how it behaves.
Viia an analysis, petty though it is, someone noticed at some point at least once in the final movement that the activity of all the parts yields a vertical (it is brief and coincidental) of all 12 of the chromatic pitches sounding simultaneously. Well, tsk, tsk Luigi! that is Not "Classical Polite."
So my hunch it is the highly animated Beethoven Symphony No. 7.
Try the fourth movement, or the third movement.
http://www.youtube.com/watch?v=tei3tUY09Pc&feature=related
http://www.youtube.com/watch?v=mgHxmAsINDk&feature=related
http://www.youtube.com/watch?v=HrE_9sTySrw
http://www.youtube.com/watch?v=_7b1xO7K2RI&feature=related
ADD: Hector Berlioz ~ Symphonie Fantasitque, 'avante-garde' in its time, got a less than understanding reception on its first outing, then slightly revised with a 'programmatic' text added (lol) it was more succesfully launched.
Best regards.