Tracklist below.

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Composers: Cornelis Schuyt, Jan Pieterszoon Sweelinck
Artist: Matthias Havinga

This attractive collection brings together organ music from the Dutch Golden Age; a period of great prosperity and power for the Republic of the Netherlands. During this era culture blossomed, with art, particularly painting and music, reaching a hitherto unknown level of refinement as exemplified in the works of Rembrandt and Sweelinck, among others.

Cities of the Republic were centers of power, and the position of city organist was one of great prestige, as he was essentially responsible for coordinating local musical culture. His musical adaptability led him to compose in all manner of forms, as can be heard on this release – which effectively offers a postcard from the Dutch Golden Age through its variety of compositions: psalm arrangements, fantasias, dances and secular songs. As arguably the greatest Dutch composer of all time, Jan Pieterszoon Sweelinck’s music is a particularly prominent feature of the disc. Of his contrasting variation sets, many were based on secular songs (whose subjects range widely): More Palatino is a bawdy drinking song and Mein junges Leben hat ein End a melancholic melody in the ‘vanitas’ style, linking closely to popular themes in paintings of the time. Of the musical psalm settings for the organ, which were used to accompany the singing of a massed congregation and also performed during public “concerts” while people wandered through the church in great numbers, Anthoni van Noordt’s setting of Psalm 24 is particularly notable, beginning soberly, featuring an adventurous, expressive second variation, and ending grandly with the melody in the pedal. The Faber/Blank organ of the Jacobuskerk,

Zeerijp, is well suited to the repertoire; dating from 1651, it was reconstructed to its original condition in 1979. In the hands of Matthias Havinga, who has won prizes at various international organ competitions and performed extensively in many European countries and in the USA, it is essential in recreating the sound world of the music as closely as possible.

This beautiful programme, recorded in 2014, brings us back to the Golden Age of the Netherlands, the 16th and 17th century, in which cultural life blossomed thanks to the economical prosperity brought by the overseas trade. Wealthy merchants commissioned works by artists like Rembrandt, Vermeer, Ruischdael and others. Also musical life flourished, and musicians from all over Europe came to hear and study with Jan Pieterszoon Sweelinck. Organist Matthias Havinga selected a beautiful bouquet of works by Dutch composers: Sweelinck, Van Noordt, Schuyt, Havingha (an ancient ancestor of the artist..?) and others.

00:00:00 Fantasia chromatica in D Minor à 4 SwWV 258
00:08:37 Almande Gratie [More Palatino] SwWV 318 [4 variations]
00:13:02 6 Variations on “Mein junges Leben hat ein End” in A Minor, SwWV 324
00:20:13 XLIX. Wilhelmus – XIV. Almande prynce
00:22:15 Psalm 118 “Dancket den Heer seer hoogh’ ghepresen”
00:25:00 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 1 à 4, pedaliter
00:27:24 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 2 à 4
00:29:47 Tabulatuur-boeck van psalmen en fantasyen: Psalm XXIV. Verse 3 à 4, in de Bas
00:32:49 Ballo del Granduca in G Major, SwWV 319
00:37:52 LVI. Daphne [3 verses]
00:43:47 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Variatio
00:46:41 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Secunda Variatio
00:49:51 Psalm 36 SwWV 311 “Des boosdoenders wille seer quaet”: Tertia Variatio
00:53:31 IV. De frans galliard
00:54:22 XXXVI. Serbande
00:56:08 XIII. Almande Brun Smeedelyn
00:57:33 Malle Sijmen in D Major, SwWV 323
00:59:12 12 Pavans and Galliards, and 2 Canzonas: Padovana
01:03:34 12 Pavans and Galliards, and 2 Canzonas: Gagliarda
01:05:21 Ouverture Octava: Vivace
01:09:56 Fantasia in G Minor à 3 SwWV 271

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Composer: Charles Henri Valentin Alkan
Artist: Stanley Hoogland (piano)
Alan Weiss (piano)

- Adventurous piano Music of the composer in whose presence even Franz Liszt was afraid to play.
- Piano music ranging from the miniaturist to the gigantic.
- Both a modern Steinway and a period Erard piano are used in this set, a fascinating way of comparison

00:00:00 Nocturne No.1 Op.22
00:06:24 Esquisses: 48 motifs Op.63: No.2 Le Staccatissimo
00:07:33 Esquisses: 48 motifs Op.63: No.3 Le Legatissimo
00:09:18 Esquisses: 48 motifs Op.63: No.21 Morituri te salutant
00:10:49 Esquisses: 48 motifs Op.63: No.10 Increpatio
00:12:23 Esquisses: 48 motifs Op.63: No.11 Les Soupirs
00:14:04 Esquisses: 48 motifs Op.63: No.46 Le Premier Billet doux
00:15:03 Esquisses: 48 motifs Op.63: No.47 Scherzetto
00:16:55 Esquisses: 48 motifs Op.63: Le Festin d’Ésope Op.39 No.12 (Douze Études dans les tons mineurs)
00:27:10 Esquisses: 48 motifs Op.63: Le Temps qui n’est plus – Prélude Op.31 No.12
00:28:46 Esquisses: 48 motifs Op.63: Fa Op.38b No.2 (Receuil de Chants, Book 2)
00:31:59 Grande Sonate Op.33 ‘Les Quatre Âges’: 20 ans: Scherzo (Tres vite, décidément) – Trio (Timidement – Amoureusement)
00:38:39 Grande Sonate Op.33 ‘Les Quatre Âges’: 30 ans: Quasi-Faust (Assez vite, sataniquement)
00:54:33 Grande Sonate Op.33 ‘Les Quatre Âges’: 40 ans: Un heureux ménage (Lentement, avec tendresse et quiétitude)
01:05:12 Grande Sonate Op.33 ‘Les Quatre Âges’: 50 ans: Prométhée enchainé (Extremement lent)
01:13:41 Toccatina in C Minor, Op. 75
01:15:30 Les Mois Op.74: No.6 Promenade sur l’eau
01:18:01 Les Mois Op.74: No.10 Gros temps
01:21:24 Les Mois Op.74: Petite Fantaisie Op.41 No.2
01:27:47 Les Mois Op.74: Petit Conte
01:32:11 Les Mois Op.74: Le Tambour bat aux champs Op.50 No.2
01:36:51 Trente Chants – Suite No.1 Op.38: No.1 Assez vivement
01:41:26 Trente Chants – Suite No.1 Op.38: No.5 Agitatissimo
01:45:25 Trente Chants – Suite No.1 Op.38: No.6 Barcarolle

01:49:14 Symphony for solo piano Op.39 Nos. 4–7: I. Allegro
02:00:00 Symphony for solo piano Op.39 Nos. 4–7: II. Marche funèbre: Andantino
02:07:20 Symphony for solo piano Op.39 Nos. 4–7: III. Menuet
02:13:23 Symphony for solo piano Op.39 Nos. 4–7: IV. Finale: Presto
02:18:45 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.1 in C
02:21:06 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.6 in G Minor ‘Ancienne mélodie de la synagogue’
02:24:14 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.11 in F ‘Un petit rien’
02:25:07 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.12 in B flat Minor ‘Le temps qui n’est plus’
02:26:18 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.13 in G flat ‘J’étais endormie, mais mon coeur veillait’
02:29:42 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.14 in B Minor
02:32:25 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.8 in A flat Minor ‘La chanson de la folle au bord de la mer’
02:36:13 25 Préludes, dans tous les tons Majeurs et Mineurs Op.31: No.15 in B ‘Dans le genre gothique’
02:38:30 Les Mois Op.74 – Suite No.1
02:42:36 Les Mois Op.74 – Suite No.4: No.1 Gros temps
02:46:55 Les Mois Op.74 – Suite No.1
02:48:37 Trente Chants – Suite No.3 Op.65: No.5 Horace et Lydie
02:52:19 Trente Chants – Suite No.3 Op.65: No.6 Barcarolle
02:55:59 Trente Chants – Suite No.4 Op.67: No.2 Chanson de la bonne vieille
02:59:21 Esquisses: 48 motifs Op.63: No.1 La Vision
03:01:43 Esquisses: 48 motifs Op.63: No.4 Les Cloches
03:02:36 Esquisses: 48 motifs Op.63: No.8 Pseudo-naïvité
03:04:36 Esquisses: 48 motifs Op.63: No.10 Increpatio
03:06:18 Esquisses: 48 motifs Op.63: No.11 Les Soupirs
03:08:02 Esquisses: 48 motifs Op.63: No.35 Musique militaire
03:09:18 Esquisses: 48 motifs Op.63: No.43 Notturnino innamorato
03:11:17 Esquisses: 48 motifs Op.63: No.46 Le Premier Billet doux
03:12:22 Esquisses: 48 motifs Op.63: No.48 En songe
03:13:41 Esquisses: 48 motifs Op.63: No.49 Laus Deo
03:17:29 Esquisses: 48 motifs Op.63: Petit Conte

Tracklist below.

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The Messiah was written at great speed by Handel during the winter of 1741–2, and was received to great acclaim its first performance in Dublin in 1742. Charles Jennens compiled the text from the Bible, and the work is cast in three sections. Although a success in Dublin, the work had a less than warm welcome when it was performed in London without its title, and called ‘a New Sacred Oratorio’ to avoid causing offence to the rather puritanical British public and press. This ruse failed however, and the press were hostile. Jennens and Handel also fell out, as Jennens felt that the composer hadn’t taken enough time and care over the music! This was a low point for Handel, and he seriously contemplated leaving the UK and returning to Germany. Eventually, after a few years, and after a series of performances for charitable causes, the work became a firm favourite. It has been linked ever since with the composer’s generous charitable donations to the Foundling Hospital, of which he was a director along with William Hogarth and Thomas Coram.
Messiah is the masterpiece of the English Baroque, and for 200 years has been performed by both professional and amateur choirs around the world. Handel’s gift for truly memorable tunes and (notwithstanding Jennens’s concerns) the care he took in setting the text have ensured that it has remained one of the most famous works
ever composed.

00:00:00 Sinfonia (Ouverture)
00:03:02 Recitative (Tenor): Comfort ye my people
00:05:53 Air (Tenor): Ev'ry valley shall be exalted
00:09:13 Chorus: And the glory of the Lord shall be revealed
00:12:05 Recitative (Bass): Thus said the Lord of Hosts
00:13:24 Air (Alto): But who may abide
00:17:29 Chorus: And He shall purify
00:19:59 Recitative (Alto): Behold, a virgin shall conceive
00:20:22 Air (Alto & Chorus): O thou that tellest
00:25:49 Recitative (Bass): For behold, darkness shall cover the earth
00:27:50 Air (Bass): The people that walked in darkness
00:31:08 Chorus: For unto us a Child is born
00:35:12 Pifa (Pastoral Symphony)
00:37:43 Recitative (Soprano): There were shepherds
00:38:13 Recitative (Soprano): And the angel said unto them
00:38:45 Recitative (Soprano): And suddenly there was with the angel
00:39:01 Chorus: Glory to God in the highest
00:40:53 Air (Soprano): Rejoice greatly, O daughter of Zion
00:45:10 Recitative (Alto): Then shall the eyes of the blind
00:45:35 Duet (Alto & Soprano): He shall feed His flock
00:50:09 Chorus: His yoke is easy
00:52:29 Chorus: Behold, the Lamb of God
00:54:51 Air (Tenor): He was despised and rejected of men

Tracklist below.

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This new recording contains Elgar’s complete original works for organ, as well as several arrangements of his famous showpieces, the first Pomp & Circumstance March, the Imperial March and Nimrod from the Enigma Variations, an iconic piece of English ceremony. The original organ works consist of the grand Organ Sonata and the Vespers Voluntaries, a touching expression of Elgar’s Roman Catholic faith. The Organ Sonata by Elgar is relatively well-known, not least thanks to its orchestration by Gordon Jacob, but the only other work he originally composed for organ is the Cantique Op.3 No.1, which moves solidly forward in the Victorian tradition without suggesting the personal voice and unpredictable drama that would come to characterise Elgar’s style.

00:00:00 Imperial March, Op. 32
00:04:42 Cantique in C Major, Op. 3
00:08:27 Sonata in G Major, Op. 28: I. Allegro maestoso
00:17:27 Sonata in G Major, Op. 28: II. Allegretto
00:21:49 Sonata in G Major, Op. 28: III. Andante espressivo
00:28:00 Sonata in G Major, Op. 28: IV. Presto (comodo)
00:34:48 Variations on an Original Theme “Enigma”, Op. 36
00:39:08 11 Vesper Voluntaries, Op. 14: Introduction
00:40:34 11 Vesper Voluntaries, Op. 14: I. Andante
00:41:58 11 Vesper Voluntaries, Op. 14: II. Allegro 11
00:43:49 11 Vesper Voluntaries, Op. 14: III. Andantino
00:46:09 11 Vesper Voluntaries, Op. 14: IV. Allegretto piacevole. Intermezzo – Adagio, come prima
00:48:25 11 Vesper Voluntaries, Op. 14: V. Poco lento
00:50:03 11 Vesper Voluntaries, Op. 14: VI. Moderato
00:52:03 11 Vesper Voluntaries, Op. 14: VII. Allegretto pensoso
00:54:13 11 Vesper Voluntaries, Op. 14: VIII. Poco allegro. Coda – Adagio, come prima
00:59:17 Pomp and Circumstance March, Op. 39

Tracklist below.

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John Field, inventor of the Nocturne. That is all most people know about this remarkable and influential Irish composer. Born in 1782 in Dublin, he became one of the most celebrated pianist-composers of the early-Romantic age. Admired by his contemporaries Hummel, Moscheles and Kalkbrenner, he also drew praise from Chopin (upon whose music he exerted a huge influence) and Schumann.

Composer: John Field
Artist: Paolo Restani (piano)

00:00:00 Piano Concerto No.1 in E flat H27: I. Allegro
00:09:49 Piano Concerto No.1 in E flat H27: II. Air écossais: Adagio non troppo
00:16:47 Piano Concerto No.1 in E flat H27: III. Rondo Finale: Allegro vivace
00:22:03 Piano Concerto No.2 in A flat H31: IV. Allegro moderato
00:42:49 Piano Concerto No.2 in A flat H31: V. Poco adagio
00:46:40 Piano Concerto No.2 in A flat H31: VI. Rondo: Moderato innocente
00:59:07 Piano Concerto No.3 in E flat H32: I. Allegro moderato
01:17:40 Piano Concerto No.3 in E flat H32: II. Nocturne No.2 in C Minor, H25: Moderato e molto espressivo
01:22:47 Piano Concerto No.3 in E flat H32: III. Rondo: Tempo di Polacca
01:37:12 Piano Concerto No.4 in E flat H28: I. Allegro moderato
01:55:49 Piano Concerto No.4 in E flat H28: II. Siciliano: Un poco adagio
01:59:09 Piano Concerto No.4 in E flat H28: III. Rondo: Allegretto
02:12:05 Piano Concerto No.5 in C H39 ‘L’Incendie par l’Orage’: I. Allegro [moderato]
02:30:44 Piano Concerto No.5 in C H39 ‘L’Incendie par l’Orage’: II. Adagio
02:32:52 Piano Concerto No.5 in C H39 ‘L’Incendie par l’Orage’: III. Rondo: Allegro
02:41:21 Piano Concerto No.6 in C H49: I. Tempo di marcia: Allegro moderato
03:01:57 Piano Concerto No.6 in C H49: II. Larghetto
03:08:14 Piano Concerto No.6 in C H49: III. Rondo: Moderato
03:14:43 Piano Concerto No.7 in C Minor H58: I. Allegro moderato [maestoso] – Lento – Tempo I
03:33:40 Piano Concerto No.7 in C Minor H58: II. Rondo: Allegro moderato

Composer: François Couperin
Artist: Musica ad Rhenum, Jed Wentz conductor

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Thinking of Baroque music our minds turn nearly automatically to the German giants Bach, Handel, Telemann and the like, or to sunnier parts in Italy where Vivaldi, Corelli and Albinoni wrote their concertos: but one nearly forgets that also in France great music was composed in the Baroque! One of the most important composers was Francois Couperin (1668-1733), imperial court composer of the most charming, graceful music: look at the French pictures of that time and you can imagine what kind of music.

This release contains the complete chamber music of the French master, with the complete “Les Nations” (a musical depiction of nationalities), Concerts Royaux, Les Gouts réunis, L’Apothéose de Corelli and de Lully and other pieces.
Instrumentation is for traversos, violins, oboes, bassoon, viola da gamba, cello, archlute and harpsichord. Expertly played on original instruments by the ensemble Musica ad Rhenum conducted by specialist Jed Wentz.

As a motto for this set may serve a quotation from one of the pieces by Couperin himself: “One should not attach too much attention to the precise measure of this piece, but one should sacrifice everything to good taste.”

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Composer & Artist: Various

About this Album:
A selection of beautifull classical pieces, traditional Christmas music and beautiful Christmas carols to help you get in the holiday spirit! Enjoy

Tracklist:
00:00:00 Once in royals David’s city
00:04:41 Christmas Oratorio, BWV 248, PT1 ; I. Chorus. Jauchzet. Frohlocket!(Chorus)
00:12:42 Messiah, HWV 56, Pt 1:IV., And the glory of the lord shall be revealed
00:15:34 Messiah. HWV 56, Pt 1: XII. For unto us a child is born
00:19:38 Messiah. HWV 56, Pt 1: XVII. Glory to god in the highest
00:21:31 Rejoice and be Merry
00:23:01 Christmas Oratorio, bwv 248, Pt. 3: XIII. Chorus, da capo. Herrscher des himmels
00:25:24 Messiah, HWV 56, Pt 2: XXVI. All we like sheep have gone Astray
00:29:08 Messiah, HWV 56, Pt 3: LIII. Worthy is the Lamb…Amen
00:35:57 Ding Dong , Merrily on high
00:38:05 Christmas oratorio, BWV 248, Pt. 4: I Chorus. Fallt mit danken, Fallt mit loben (Chorus)
00:43:44 What sweeter music
00:48:03 Christmas Oratorio, BWV 248, Pt. 5: I. Chorus. Ehre sei dir, Gott, gesungen (Chorus)
00:55:04 O Little Town of Bethlehem
00:58:44 A Spotless Rose
01:03:01 King Jesus Hath a Garden
01:06:09 The Lamb
01:11:37 Bogoróditse Dyévo
01:12:16 Infant Holy, Infant Lowly
01:15:42 Dazu ist erschienen der Sohn Gottes, BWV 40 for the Second Day of Christmas: I. Coro. Dazu
01:21:06 Nun komm der Heiden Heiland, BWV 62 for the First Sunday of Advent: I. Coro. Nun Komm, der Heiden Heilan
01:24:36 Gelobet Seist Du, Jesu Christ, BWV 91: VI. Choral (Coro). Das hat er alles uns getan
01:28:35 Preise, Jerusalem, den Herrn, BWV 119: I. Coro. Preise, Jerusalem, den Herrn
01:30:11 Ich freue mich in dir, BWV 133: I. Coro. Ich freue mich in dir
01:31:59 While Shepherds Watched
01:34:41 Quittez, Pasteurs
01:37:52 In Dulci Jubilo
01:41:30 The First Nowell
01:45:54 Coventry Carol

#Christmasmusic #Choralmusic #Choral #Classical #Classicalmusic #Christmas

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Wolfram Schmitt-Leonardy has gradually built a distinguished catalogue of recordings over the years on Brilliant Classics, and each new release from this German pianist tends to be welcomed in effusive terms by the international press. His accounts of Chopin have met with particular praise. A 2CD set of the Ballades, Impromptus and Preludes (BC95210) was celebrated by Classics Today as achieving ‘a fusion of impassioned ardour and classical textual rigour… the best of Schmitt‐Leonardy’s Chopin adds up to a stimulating and compelling listening journey well worth travelling, even if you’ve heard these works hundreds of times.’

Individual discs of Mendelssohn (BC93975), Schumann (BC93136) and Brahms (BC92512) have likewise attracted admiring comments. According to Gramophone, ‘Wolfram Schmitt-Leonardy’s superb technical and musical command holds unflagging interest throughout the [Brahms] variation sets, which easily hold their own among the top versions available.’

With these new recordings, made in 2011 and 2015, Schmitt-Leonardy returns to Chopin, and to ‘his wildest children’ according to Schumann: a comment which has been much parsed for its implications of structural incoherence as well as indomitable passion. In truth, Chopin’s struggle with the larger, multi-movement form has by no means failed, but rather resulted in a more accurate and elaborated mosaic of interrelations, coherencies and references, which cannot be discerned by casual listening or glancing at the scores. Chopin’s ability to balance these elements comes from neatly hidden formal concessions and the use of several compositional tools found in the music of Bach; combined, these aspects award Chopin’s sonatas continuity.

Even if the First Sonata is the work of a student, it nonetheless demonstrates some of those Bachian connections and a lyric poise which would come to full bloom in the Second. This work is centred around the grave Funeral March which has become perhaps Chopin’s best-known individual piece. Bachian principles of counterpoint and polyphony are even more richly satisfied by the final sonata of the trilogy, at least until the grand and sweeping passion of its concluding Rondo.

00:00:00 Piano Sonata No. 1 in C Minor, Op. 4: I. Allegro maestoso
00:09:52 Piano Sonata No. 1 in C Minor, Op. 4: II. Menuetto
00:14:35 Piano Sonata No. 1 in C Minor, Op. 4: III. Larghetto
00:18:23 Piano Sonata No. 1 in C Minor, Op. 4: IV. Finale. Presto
00:25:04 Piano Sonata No. 2 in B-Flat Minor, Op. 35: I. Grave - Doppio movimento
00:33:22 Piano Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo
00:40:39 Piano Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funèbre. Lento
00:50:03 Piano Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale. Presto
00:51:40 Piano Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso
01:01:05 Piano Sonata No. 3 in B Minor, Op. 58: II. Scherzo. Molto vivace
01:03:59 Piano Sonata No. 3 in B Minor, Op. 58: III. Largo
01:13:25 Piano Sonata No. 3 in B Minor, Op. 58: IV. Finale. Presto non tanto

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Composers: Alexander Glazunov, Piotr Ilyich Tchaikovsky, Sergei Prokofiev, Sergei Rachmaninoff
Artists: Alexander Russakovsky (cello), Amber Shay Nicholson (piano)

Bringing together works for cello and piano by some of the greatest composers in Russian music history, the set begins with Rachmaninoff’s Cello Sonata – a landmark piece for the composer and whose highlights include a lyrical opening movement and the furiousness of an apparent snowstorm in the second-movement Scherzo. The Pas d’action from Tchaikovsky’s ballet Sleeping Beauty, which follows, depicts the moment where Prince Désiré, wandering alone in the forest, is approached by the Lilac Fairy who shows him a vision of the beautiful princess Aurora, and this is followed by Glazunov’s Sérénade espagnole – the first of the composer’s ‘Spanish’ works, one which employs a ringing tone reminiscent of a Spanish guitar or lute. Bringing the collection to an end is Prokofiev’s Cello Sonata. This piece, beginning with a distinctly serious tone, metamorphoses into a triumphant carnival-like finale, complete with the festive bells that are so symbolic of Russian music.

Cellist Alexander Russakovsky enjoys an international reputation as a performer and teacher. He has given masterclasses as far afield as Latin America and Taiwan, and in recent years has won first prize at the Angela and Maurice M. Clairmont Competition in Tel Aviv and the Performing Arts Foundation Competition in Santa Barbara. Pianist Amber Shay Nicholson won the 2001 Rachmaninoff Concerto No.3 competition at the Eastman School of Music; she is also a former member of the piano faculty of the University of Southern Mississippi.

00:00:00 Cello Sonata in G Minor, Op. 19: I. Lento – Allegro moderato
00:12:29 Cello Sonata in G Minor, Op. 19: II. Allegro scherzando
00:19:22 Cello Sonata in G Minor, Op. 19: III. Andante
00:25:07 Cello Sonata in G Minor, Op. 19: IV. Allegro mosso
00:36:16 Sleeping Beauty, Op. 66, Act 2: No. 15, Pas d’action. Andante cantabile (Arr .Albert Kleineke)
00:40:40 Pieces for Cello and Orchestra, Op.20: II. Sérénade Espagnole
00:43:30 Cello Sonata in C Major, Op. 119: I. Andante grave
00:55:12 Cello Sonata in C Major, Op. 119: II. Moderato
01:00:11 Cello Sonata in C Major, Op. 119: III. Allegro ma non troppo

This album contains the complete works for piano solo by Claude Debussy, presented by Piano Classics, a label of Brilliant Classics. Make sure to follow Piano Classics on Youtube!

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This album includes the piano reductions of the Ballets (Khamma, Jeux, La boite a joujoux), the solo piano version of Six Épigraphes Antiques, and several alternative version of well‐known compositions, all by the composer himself. Debussy’s piano works count among the most original and influential works of the 20‐th century piano literature. The innovative piano
writing, the keen sense for colour and timbre and the emotional impact of each individual piece show the hand and mind of a true genius. Christopher Devine (born 1982) was born in the Netherlands to a German mother and Scottish father. After his education at the The Hague Conservatory he furthered his development with Maria Joao Pires, Elisso Virsaladze, Janina Fialkowska and Leslie Howard. His immense repertoire includes over 1000 solo works and 30 concertos. His close affinity to Debussy’s sound world is proven is this magnificent recording of the complete works, clearly a labour of love.

Track list:
00:00:00 Suite bergamasque, L. 75
00:16:42 Danse bohémienne, L. 9
00:18:44 2 Arabesques, L. 66: I.
00:25:50 Mazurka, L. 67
00:28:08 Rêverie, L. 68
00:32:34 Tarantelle styrienne, L. 69
00:37:25 Ballade, L. 70
00:44:00 Valse romantique, L. 71
00:46:44 Nocturne in D-Flat Major, L. 82
00:52:57 Pour le piano, L. 95
01:05:59 Estampes, L. 100
01:19:34 Images, livre I, L. 110
01:33:38 Images, Livre II, L. 111
01:46:48 Images oubliées, L. 87
01:58:28 Children’s Corner, L. 113
02:14:11 Le petit nègre in C Major, L. 114
02:15:11 Hommage à Haydn, L. 115
02:17:08 La plus que lente, L. 121
02:20:30 Morceau de concours, L. 108
02:21:10 Masques, L. 105
02:25:54 D’un cahier d’esquisses in D-Flat Major, L. 99
02:29:52 L’isle joyeuse, L. 106
02:35:38 Préludes, livre I, L. 117:
03:14:39 Préludes, Livre II, L. 123
03:54:40 Khamma, L. 125
04:14:52 La damoiselle élue, L. 62
04:19:34 Jeux, L. 126
04:36:53 Piano Trio in G Major, L. 3: II. Intermède
04:41:05 La boîte à joujoux, L. 128: I. Prélude. Le sommeil de la boîte – Tableau I. Le magasin de jouets
04:53:08 La boîte à joujoux, L. 128: II. Tableau II. Le champ de bataille
05:00:49 La boîte à joujoux, L. 128: III. Tableau III. La bergerie à vendre – Après fortune faite – Épilogue
05:08:19 Études, livre I, L. 136
05:29:46 Études, livre II, L. 136
05:55:52 Étude retrouvée
06:00:19 6 Épigraphes antiques, L. 131
06:16:53 Berceuse héroïque, L. 132
06:21:38 Pièce pour le vêtement du blesse, L. 133
06:22:48 Élégie, L. 138
06:25:21 Les soirs illuminés par l’ardeur du charbon in A-Flat Major

Complete tracklist can be found in the comment section

Beautiful piano music of Respighi - complete, in one long video. A full album, with all the piano music of the legendary composer!

Tracklist below.

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Acclaimed composer, violinist and musicologist, Ottorino Respighi has been remembered mostly for his vivid and skilful orchestral writing. Little known are his many fine piano works (he also worked frequently as an accompanist for singers and soloists), which include arrangements of his own and original works for the instrument.

Works such as Antiche danze ed arie per liuto and Tre preludi su melodie gregoriane betray Respighi’s fascination with ancient music. Active as an arranger and transcriber during the latter half of his life, both works are arranged from their original orchestral versions (selections from Antiche danze suites I & III and Vetrate di Chiesa P150 respectively), and retain the vivacity, colour and poignancy of the originals, whilst showcasing Respighi’s dexterous writing for piano. Other pieces find Respighi in
more familiar romantic territory: the Sei pezzi’s characterful six movements – including the gorgeous Nocturne – display his mastery of old musical forms and an uncanny ability to dress them in 19th-century musical language, with smatterings of Debussy and Schumann throughout. Schumann’s influence is present also in the Sonata in F minor, with decidedly more tempestuous writing, and demonstrates Respighi’s ability to write clarity and emotional depth into his music. Much of Respighi’s early work is under-represented, and pianist Michele D’Ambrosio brings these surprising and powerful works to life with a rare display of Respighi’s precocious talent. Largely written whilst still a student, the Sonata in A minor and Andante in F show the early influence of Schubert, whilst the Suite shows inspiration from Tchaikovsky.

Many of these works are newly discovered and, having also recorded the entire piano works of Alfredo Casella, D’Ambrosio
brings his dedication to cataloguing these rare and under-performed works along with technical prowess and interpretive imagination.

00:00:00 Sonata in F Minor, P. 016: I. Allegro
00:06:41 Sonata in F Minor, P. 016: II. Lento
00:12:47 Sonata in F Minor, P. 016: III. Allegretto
00:15:54 Sei pezzi, P. 044: I. Valse caressante
00:19:41 Sei pezzi, P. 044: II. Canone
00:22:33 Sei pezzi, P. 044: III. Notturno
00:27:36 Sei pezzi, P. 044: IV. Minuetto
00:31:20 Sei pezzi, P. 044: V. Studio
00:33:00 Sei pezzi, P. 044: VI. Intermezzo – Serenata
00:35:25 Antiche danze ed arie per liuto, P. 114: I. Balletto detto “Il Conte Orlando”
00:38:04 Antiche danze ed arie per liuto, P. 114: II. Villanella
00:42:01 Antiche danze ed arie per liuto, P. 114: III. Gagliarda
00:45:27 Antiche danze ed arie per liuto, P. 114: IV. Italiana
00:48:22 Antiche danze ed arie per liuto, P. 114: V. Siciliana
00:51:22 Antiche danze ed arie per liuto, P. 114: VI. Passacaglia
00:54:32 Tre preludi su melodie gregoriane, P. 131: I. Molto lento
00:59:42 Tre preludi su melodie gregoriane, P. 131: II. Tempestoso
01:05:41 Tre preludi su melodie gregoriane, P. 131: III. Lento
01:10:59 Sonata in A Minor, P. 004: I. Allegro moderato
01:21:10 Sonata in A Minor, P. 004: II. Andantino
01:25:39 Sonata in A Minor, P. 004: III. Finale. Allegro vivace
01:31:13 Andante in F Major, P. 006
01:36:03 Andante in D Major, P. 007
01:39:48 Allegro in B Minor, P. 010
01:43:35 Suite, P. 022: I. Vivace
01:44:43 Suite, P. 022: II. Tema. Andante poco mosso
01:47:37 Suite, P. 022: III. Sarabanda. Lento
01:51:20 Suite, P. 022: IV. Allegro con brio
01:52:53 Suite, P. 022: V. Presto
01:54:13 Preludio in B-Flat Minor, P. 023
01:55:42 Preludio from Suite per pianoforte, P. 043
01:59:36 Preludio in D Minor, P. 043a
02:02:24 Variazioni sinfoniche, P. 028

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Composer: Piotr Ilyich Tchaikovsky
Artists: Derek Han (piano), St. Petersburg Philharmonic Orchestra, Paul Freeman (conductor)

About this Album:
This release features two piano concertos by Tchaikovsky: Concerto No. 1 and No. 2. Brilliant performance by Derek Han, accompanied by St. Petersburg Philharmonic under the baton of Paul Freeman.

Tracklist:
00:00:00 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro non troppo e molto maestoso; allegro con spirito
00:19:23 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Andantino semplice; Prestissimo
00:25:49 Piano Concerto No. 1 in B-Flat Minor, Op. 23: Allegro con fuoco
00:32:42 Piano Concerto No. 2 in G Major, Op. 44: Allegro brillante
00:53:01 Piano Concerto No. 2 in G Major, Op. 44: Andante non troppo
01:01:57 Piano Concerto No. 2 in G Major, Op. 44: Allegro con fuoco


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Tracklist below.

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If it is true that the end of Romanticism coincided with the invention of electric light, then we can date this to 1880 – the year in which Thomas Alva Edison patented the light bulb. At around this time, a brilliant student at the Paris Conservatoire, Claude Debussy, decided to embark upon a composing career that would soon ‘illuminate’ the history of music.

Debussy’s output is roughly divided into three periods, each of which is represented by one of the three discs in this set. Focusing solely on his works for piano duo, the collection effectively represents a vantage point from which to analyse his stylistic development, since it touches on both Debussy's piano and orchestral writing simultaneously: as well as original keyboard works (Lindaraja is one example, the composer's first work inspired by Spain), there are piano pieces arranged for orchestra, vice-versa compositions (Prélude a l'après-midi d'un faune, for instance) and music that was clearly intended for the orchestra or for specific ensembles (one example is Le triomphe de Bacchus, for which the orchestration was never completed).

Performing these works are two of Italy's most celebrated pianists, Massimiliano Damerini and Marco Rapetti. Their accomplished readings highlight the unique relationship that exists between piano and orchestra – the former can be seen as a monochromatic version of the latter, with the latter essentially describing the former in polychromatic terms – and, at the same time, draw the listener's attention towards an important area of 19th-century music-making: namely piano transcriptions’ vital role in making operatic and symphonic repertoire available to all.

00:00:00 Symphonie: Allegro
00:09:54 Andante cantabile
00:18:27 Diane: Ouverture
00:25:20 Le triomphe de Bacchus: Suite d’Orchestre: I. Divertissement
00:28:59 Le triomphe de Bacchus: Suite d’Orchestre: II. Andante
00:32:29 Le triomphe de Bacchus: Suite d’Orchestre: IV. Marche et Bacchanale: (fragment A)
00:33:39 Le triomphe de Bacchus: Suite d’Orchestre: IV. Marche et Bacchanale: (fragment B)
00:38:17 Intermezzo
00:42:49 Première Suite d’Orchestre: I. Fête
00:48:49 Première Suite d’Orchestre: II. Ballet
00:53:22 Première Suite d’Orchestre: III. Rêve
01:01:47 Première Suite d’Orchestre: IV. Cortège et Bacchanale
01:10:47 Divertissement
01:22:46 L’Enfant prodigue: Scène lyrique, three excerpts: I. Prélude
01:25:21 L’Enfant prodigue: Scène lyrique, three excerpts: II. Cortège - III. Air de danse
01:29:36 Printemps: Suite symphonique: I. Très modéré
01:39:54 Printemps: Suite symphonique: II. Modéré
01:47:45 Petite Suite: I. En bateau
01:51:26 Petite Suite: II. Cortège
01:54:56 Petite Suite: III. Menuet
01:58:16 Petite Suite: IV. Ballet
02:01:38 Marche écossaise sur un Thème populaire: ‘The Earl of Ross March’
02:09:09 Prélude à l’après-midi d’un Faune
02:19:36 Lindaraja
02:25:54 La Mer: Trois Esquisses symphoniques: I. De l’Aube à midi sur la Mer
02:34:40 La Mer: Trois Esquisses symphoniques: II. Jeux de vagues
02:42:17 La Mer: Trois Esquisses symphoniques: III. Dialogue du Vent et de la Mer
02:50:25 Danses: I. Danse sacrée
02:55:23 Danses: II. Danse profane
03:00:33 Six Épigraphes antiques: I. Pour invoquer Pan, dieu du Vent d’été
03:03:00 Six Épigraphes antiques: II. Pour un Tombeau sans Nom
03:06:55 Six Épigraphes antiques: III. Pour que la Nuit soit propice
03:09:18 Six Épigraphes antiques: IV. Pour la Danseuse aux crotales
03:11:53 Six Épigraphes antiques: V. Pour l’Égyptienne
03:15:03 Six Épigraphes antiques: VI. Pour remercier la Pluie au matin
03:17:15 En blanc et noir: I. Avec emportement
03:21:42 En blanc et noir: II. Lent, sombre
03:29:22 En blanc et noir: III. Scherzando

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Composer: Georg Philipp Telemann
Artists: Collegium Instrumentale Brugense, Patrick Peire (conductor)

Georg Philipp Telemann (1681–1767) was one of the most prolific composers of the 18th century; although the largest part of his compositional activities were devoted to vocal music, he wrote a substantial number of overtures, which this splendid 8-disc collection is dedicated to.

Although Telemann chose the title of ‘Overtures’, this was somewhat interchangeable with the genre of the Suite in his era. Each work opens with a three-part French overture, and this is followed by a series of varied, shorter pieces – encompassing everything from dances (drawn from the French tradition and beyond), fugues, chaconnes, passacailles, musical portraits, folk dances and evocations of scenes and characters.

In these eight discs, Collegium Instrumentale Brugense and Patrick Peire’s three separate volumes of Telemann Overtures have been collected together for the first time, creating a box set that is set apart by its breadth. Its overview of 33 Overtures illuminates Telemann’s hugely inventive approach to instrumentation, while revealing the wealth of subjects that he sought inspiration in. The ‘Alster Overtüre’, for example, named after the Alster river in Germany, features a ‘Concert of Frogs and Crows’, while another Overture is inspired by Cervantes’ Don Quixote.

A generous selection of 33 Overtures (or Orchestral Suites) by Georg Philipp Telemann, formerly issued separately, now collected in one 8-CD set. This collection contains CD 5 and 6 out of 8 discs.

CD1: TWV55: D18, G10 ‘Burlesque de Quixotte’, c2 & D4
CD2: TWV55: F11 ‘Alster’, B5 ‘Volker’,d2 & B7
CD3: TWV55: a4, A4, D23 & G4 ‘Des Nations anciens et modernes’
CD4: TWV55: D22 ‘Ouverture jointes d’une Suite tragi-comique’, e7, h4, e3 & c4
-CD5: TWV55: d3, F4, B11 ‘La Bourse’ & Es1
-CD6: TWV55: C6, f1, B8 ‘Burlesque’ & g9
CD7: TWV55: D17, A2, a2 & e8 ‘l’Omphale’
CD8: TWV55: F16 ‘Pour S.A.S. Monseigheur Le Landgrave de Darmstadt’, g2 ‘La Changeante’, G7 & D13 ‘La Gaillarde’


Tracklist can be found in the comment section below!

Piano Sonata in C-Sharp Minor, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto

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Composer: Beethoven
Artist: Misha Goldstein

Tracklist below.

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Best known now as a young friend and ever-patient amanuensis to the increasingly cantankerous Beethoven, Ferdinand Ries was himself the most talented member in a distinguished family of musicians. It was his father Franz who taught piano to both him and Beethoven in Bonn, and had the melancholy fortune to outlive his son by eight years after Ferdinand’s death in 1838. The son became Beethoven’s pupil in 1801, and while the teacher’s comment that ‘he imitates me too much’ is not unfair, one can only extend sympathy to poor Ries: what was he to do with such a master?

Certainly the Polonaise of the Op.20 Cello Sonata proceeds with the swagger of Beethoven in popular style, bouncing along like the finale of the latter’s Triple Concerto. The dates of this work and the one immediately following it are uncertain, but they bear a dedication to Bernhard Romberg, author of the influential method for the cello, and teacher of Ries from the age of five. Once Ries had left Vienna in 1809 to pursue a career as a touring virtuoso he met Romberg in St Petersburg and toured Russia with him; the sonatas may date from this period.

The Op.125 Sonata, however, definitively bears the date of 1823 on its autograph and is fully a work of Ries’s maturity, written once he had settled in London where, to quote Greene’s Biographical Encyclopedia of Musicians, ‘he settled down… concertized, taught, composed and acquired fame, money, and a charming wife named Harriet Mangean.’ The scale of the Sonata is positively Schubertian; so, too, the cast of its long-breathed melodies, and the Romantic gloom of its Grave introduction.
These historically informed recordings are the work of two experienced Italian musicians who have played with many distinguished ensembles specialising in music of the Baroque and Classical periods.

Ferdinand Ries (1784-1838) was born in Bonn and moved to Vienna in 1801, where his life became closely related to that of Ludwig van Beethoven (also a native of Bonn..). Ries studied piano with him, copied his scores and was the interpreter of several new works, notably the premiere of the Third Piano Concerto. Ries also wrote the first biography of Beethoven, an invaluable source of first-hand information. Ries’s style inevitably is modelled on that of his master Beethoven, he was however strong enough to stand on his own. His three cello sonatas are masterworks of the genre, both instruments being equal partners in a highly virtuoso musical discourse.
Played on period instruments by Gaetano Nasillo, one of today’s most renowned baroque cellists, and Alessandro Comellato, excellent fortepianist, who recorded Hummel Piano Concertos to great critical acclaim for Brilliant Classics (BC 94338).

00:00:00 Cello Sonata in C Major, Op. 20: I. Allegro con brio
00:08:46 Cello Sonata in C Major, Op. 20: II. Adagio
00:11:53 Cello Sonata in C Major, Op. 20: III. Polonaise, allegretto moderato
00:20:28 Cello Sonate in G Minor, Op. 125: I. Grave-Allegro-Grave-Allegro-Grave-Allegro
00:36:39 Cello Sonate in G Minor, Op. 125: II. Larghetto con moto
00:43:40 Cello Sonate in G Minor, Op. 125: III. Rondo, allegretto
00:50:58 Cello Sonate in A Major, Op. 21: I. Allegro
01:02:46 Cello Sonate in A Major, Op. 21: II. Andantino quasi allegretto
01:08:41 Cello Sonate in A Major, Op. 21: III. Menuetto, allegretto
01:12:39 Cello Sonate in A Major, Op. 21: IV. Rondo, allegro ma non troppo

Artist:
Gaetona Nasillo (cello)
Alessandro Commellato (fortepiano)

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Composer: Ludwig van Beethoven
Artist: Alfred Brendel (piano)

For many collectors in the 1960s, the budget priced Vox Turnabout LPs of the Beethoven Sonatas and Concertos were a revelation, and introduced an amazing young talent to the public.

Alfred Brendel was born in 1931 in Wiesenberg, and won the Concorso Busoni in 1949. He studied with Edwin Fischer, Paul Baumgartner and Edward Steuermann. The Vox Beethoven recordings won the Grand Prix du Disque in 1965, and were praised by critics world-wide.

These early recordings illustrate clearly all the characteristics that would become a hallmark of Brendel’s playing. A refusal to fall back on ‘flashy’ bravura, and the intellectual rigour he brings to the Beethoven sonatas marked him out even in these early recordings as one of the very great pianists of the 20th century. Brendel retired from the musical scene in 2009 at the height of his powers, leaving a recorded legacy without parallel in the music of Beethoven, Mozart and Schubert.

Tracklist can be found in the description!

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Composer: Pietro Antonio Locatelli
Artists: Igor Ruhadze (violin), Ensemble Violine Capricciosi

Virtuosity, showy improvisation and stratospherically high violin playing are the characteristics of Baroque composer Pietro Antonio Locatelli’s theatrical concerti grossi for soloists and ripieno. While concerti grossi from this time could usually be divided into two types, ‘da camera’ and ‘da chiesa’ – with the former containing more dance movements – Locatelli went down his own distinct path, creating a new model more like that of Torelli. His ripieno section was larger than the traditional accompanying group, and his slow movements contained drawn-out notes over which the first violinist or harpsichordist was free to improvise. Indeed, one harpsichord passage in Op.7 is so extraordinarily virtuosic that Locatelli labelled it ‘ad libitum’, presumably to avoid frightening the amateur musician.

Only the most consummate and accomplished musicians can perform works of this calibre. Igor Ruhadze and his ensemble Violini Capricciosi have spent years recording Locatelli’s works, having previously released his violin concertos and trio sonatas, described by Gramophone magazine as ‘brilliantly and at times breathtakingly performed’. They bring their expertise to this release once more, with a tight and supple ripieno section supporting the sumptuous, virtuosic solo playing.

The Concerto Grosso is a popular Baroque form, in which two instrumental groups complete against each other: a small group of soloists and the tutti of the orchestral group. It is the forerunner of the solo concerto form, which features only one solo instrument.
This set present the complete Concerti Grossi by Pietro Antonio Locatelli, modelled on the popular concerti grossi of his teacher Corelli. The writing, as might be expected from Locatelli the devil violinist, is highly virtuosic and brilliant, inventive in harmony and counterpoint, written to impress and entertain.
This set is part of the Locatelli Edition, the complete works by Locatelli, as performed by Igor Ruhadze and his early music band Violini Capricciosi, playing with great gusto, zest and dazzling virtuosity.

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Composer & Artist:
Composer: Michel Corrette
Artists: La Fantasia ensemble, Rien Voskuilen (organ and concert master)

About this Album:
Michel Corrette (1709–1795) was born in Rouen, where his father Gaspard was an organist. Sadly, little is known about his early life, but we know he held positions as organist in several churches in Paris. For many years his reputation rested on his teaching methods and educational works, and he can claim to have written and published more teaching methods than any other composer. These include works on the mandolin, guitar, violin, cello, viola da gamba, organ, harpsichord, double bass and harp. Today, these books are of interest as they throw light upon the ‘Italian’ style that was all the rage in France in the early 18th century. The proceeds of all these successful books meant that Corrette became relatively well off, which aroused feelings of envy among his contemporaries, who often made sure that his music received lukewarm reviews.

On this release of Les Six Symphonies de Noël, we hear Corrette writing in a style firmly rooted in the Baroque, but the inclusion of ‘foreign’ material such as the tune from Poland and from North America show the innovative and truly creative side of the composer. Noëls were extremely popular in France, and many were intended for organ alone, though Corrette stipulates that his can be performed within an orchestral setting. He probably meant by this that the organ and a small string ensemble would be the ideal forces.


Tracklist:

00:00:00 Sinfonia I: Ã La Venue De Noël: Moderato
00:02:20 Sinfonia I: Le Roy Des Cieux vient De Naître: Andante
00:04:21 Sinfonia I: Voici Le Jour Solennel: Moderato
00:06:26 Sinfonia I: Adam Fut Un Pauvre Homme: Allegro
00:08:35 Sinfonia II: Où S'en Vont Ces Gais Bergers: Allegro
00:11:08 Sinfonia II: Noël Polonais: Largo
00:12:58 Sinfonia II: Laissez Paître Vos Bêtes: Allegro
00:16:08 Sinfonia III: Quand Je M'éilla Et Eus Assez Dormi: Moderato
00:18:20 Sinfonia III: Vous Qui Désirez Sans FIn: Andante
00:20:58 Sinfonia III: Noël Allemand: Largo
00:22:04 Sinfonia III: Noël De St. Cyr: Allegro
00:24:05 Sinfonia III: Cette Journée: Allegro
00:25:41 Sinfonia III: Puer Nobis Nascitur: Moderato
00:27:56 Sinfonia III: Chantons Je Vous Prie: Allegro
00:28:49 Sinfonia III: Joseph Est Un Bon Compagnon: Allegro
00:30:14 Sinfonia IV: Une Jeune Pucelle: Moderato
00:32:04 Sinfonia IV: (Je Me Suis Levé Par Un Matinet): Allegro
00:33:19 Sinfonia IV: Chrétien(s) Qui SuIVez L'église: Adagio
00:35:15 Sinfonia IV: Nous Sommes En Voie: Allegro
00:36:03 Sinfonia IV: Noel Allemand: Largo
00:37:46 Sinfonia IV: Noël Américain: Allegro
00:38:40 Sinfonia IV: Nouveau Noël Sur Un Ancien Air De M. Lully (Votre Bonté Grand Deiu: Allegro
00:40:54 Sinfonia V: Chantons Je Vous Prie Noël Hautement: Moderato
00:42:29 Sinfonia V: Bergers Allons Voir Dans Ce Lieu: Andante
00:43:34 Sinfonia V: Joseph Est Bien Marié: Allegro
00:44:50 Sinfonia V: Un Jour Dieu Se Résolut
00:45:28 Sinfonia V: Michau Qui Causoit Ce Grand Bruit: Allegro
00:46:09 Sinfonia V: Or, Nous Dites, Marie: Adagio
00:49:48 Sinfonia V: Chantons De VoIX Hautaine: vivace
00:51:55 Sinfonia V: Noël Suisse: Allegro
00:55:10 Sinfonia vi: Tous Les Bourgeois De Chartres: Allegro
00:57:20 Sinfonia vi: Quoy Ma Voisine Es-Tu Fâchée: Amorozo
00:59:42 Sinfonia vi: Noël De Saintonge; (Savez-Vous Mon Cher Voisin): Allegro
01:01:12 Sinfonia vi: Bon Joseph Ëcoutez-Moi

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This set includes over 7 hours of the most memorable romantic melodies played by some of the world’s finest pianists. The collection contains the most beautiful compositions of great composers including:

Liebestraum - Liszt
Für Elise - Beethoven
Träumerei - Schumann
Nocturne - Chopin
Rosamunde Impromptu - Schubert
Rondo alla Turca - Mozart
Wiegenlied - Brahms
Mondschein Adagio - Beethoven
Raindrop Prelude - Chopin
Clair de lune - Debussy
Hungarian Rhapsody - Liszt
and many others

Tracklist can be found in the comment section!