No more than a handful of pieces represent the entire musical heritage for baroque lute by Johann Sebastian Bach – not a lot when we consider the enormity of the composer’s total output. Although it is not known whether Bach himself played the instrument, the seven works which are ascribable to it continue to enjoy extraordinary attention on the part of musicians due to their exceptional quality, and indeed the majority originate from the areas of Germany that were home to the lute’s greatest exponents – musicians who we can be almost certain the composer came into contact with.

This recording thus presents four compositions in suite form and three pieces of a different nature, all belonging to the florid repertoire of the courtly Salonmusik that was in vogue among the German upper classes at the time. Performing them is acclaimed Italian lutenist Mario D’Agosto, whose changes in tonality aim to better serve the capacities of the instrument (BWV 996 and 997, for instance, were written for the ‘Lautenwerk’, a sort of lute-harpsichord favoured by Bach) and whose embellishments are testament to the high level of ornamentation which played such an intrinsic role in baroque performance practice.

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Composer: Johann Sebastian Bach
Artist: Mario D'Agosto (lute)

00:00:00 Suite in E Minor, BWV 996: I. Prelude
00:03:11 Suite in E Minor, BWV 996: II. Allemande
00:06:25 Suite in E Minor, BWV 996: III. Courante
00:09:03 Suite in E Minor, BWV 996: IV. Sarabande
00:13:02 Suite in E Minor, BWV 996: V. Bourrée
00:14:43 Suite in E Minor, BWV 996: VI. Gigue
00:18:09 Prelude, fugue and allegro in E-Flat Major, BWV 998: I. Prelude
00:21:13 Prelude, fugue and allegro in E-Flat Major, BWV 998: II. Fugue
00:28:00 Prelude, fugue and allegro in E-Flat Major, BWV 998: III. Allegro
00:32:18 Suite in G Minor, BWV 995: I. Prelude
00:38:15 Suite in G Minor, BWV 995: II. Allemande
00:43:20 Suite in G Minor, BWV 995: III. Courante
00:45:48 Suite in G Minor, BWV 995: IV. Sarabande
00:49:18 Suite in G Minor, BWV 995: V. Gavottes I & II ‘en Rondeau’
00:54:05 Suite in G Minor, BWV 995: VI. Gigue
00:56:37 Partita in C Minor, BWV 997: I. Prelude
01:00:28 Partita in C Minor, BWV 997: II. Fugue
01:08:08 Partita in C Minor, BWV 997: III. Sarabande
01:12:31 Partita in C Minor, BWV 997: IV. Gigue - Double
01:16:01 Partita in E Major, BWV 1006a: I. Prelude
01:20:47 Partita in E Major, BWV 1006a: II. Loure
01:23:55 Partita in E Major, BWV 1006a: III. Gavotte ‘en Rondeau’
01:27:31 Partita in E Major, BWV 1006a: IV. Menuets I & II
01:32:54 Partita in E Major, BWV 1006a: V. Bourrée
01:35:19 Partita in E Major, BWV 1006a: VI. Gigue
01:38:09 Prelude in C Minor, BWV 999
01:39:47 Fugue in G Minor, BWV 1000

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Composer: Franz Joseph Haydn
Artists: L'Arte dell'Arco, Federico Guglielmo (violin and concert master)

About this Album:
Haydn’s violin concertos are early works dating from the 1760s. The First in C was only discovered in 1909 in the archives of the publishers Breitkopf – 100 years after the composer’s death.

The First and Third concertos (the second is lost) were
composed for the Italian violinist Luigi Tomasini, who,
in 1761 was the concertmaster of the court chapel at
Esterhaza. Doubtless his considerable skills influenced the writing for the solo parts as it both concertos are indebted to the Italian school, with Vivaldian sequences, and in the case of the First concerto, a delicious slow movement.

The Fourth Concerto in G is a very different work in style, and it is doubtful that it was written for Tomasini. More likely (and it is by no means certain that the work is actually Haydn’s – it just has enough ‘finger prints’ to be attributed to him) it was composed
for the leader of the Morzin orchestra. It is the most old-fashioned of the three concertos on this CD, but nonetheless contains some lovely moments, especially the slow movement and the restless finale.

Tracklist:
00:00:00 Violin Concerto in C Hob VIIa: 1: I. Allegro moderato
00:09:37 Violin Concerto in C Hob VIIa: 1: II. Adagio
00:14:43 Violin Concerto in C Hob VIIa: 1: III. Presto
00:19:01 Violin Concerto in G Hob VIIa: 4: I. Allegro moderato
00:27:35 Violin Concerto in G Hob VIIa: 4: II. Adagio
00:33:17 Violin Concerto in G Hob VIIa: 4: III. Allegro
00:36:52 Violin Concerto in A Hob VIIa: 3: I. Moderato
00:47:38 Violin Concerto in A Hob VIIa: 3: II. Adagio
00:53:17 Violin Concerto in A Hob VIIa: 3: III. Allegro

#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #ClassicalViolinMusic #Violin #haydn

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A classical TOP 30 with the intention of relaxation and chillin'. Sit back, relax, and enjoy these Chillout Tunes.

00:00:00 Piano Concerto No. 21 in C Major, K. 467: II. Andante 'Elvira Madigan'
00:06:07 Carnival of the Animals: XIII. The Swan
00:09:12 Liebestraum, S. 541: No. 3, Oh Lieb, so lang du lieben kannst in A-Flat Major
00:13:16 Serenade No. 13 in G Major, K. 525 ‘Eine kleine Nachtmusik’: II. Romanze
00:18:19 Pictures at an Exhibition: Promenade No. 2 - No. 2, The Old Castle
00:23:35 Nocturnes, Op. 9: No. 2, Nocturne in E-Flat Major
00:27:56 Orfeo ed Euridice, Act 2: Dance of the Blessed Spirits
00:35:01 Concerto in F Minor, Op. 8 No. 4, RV 297 "Winter": II. Largo
00:37:05 Symphony No. 3 in F Major, Op. 90: III. Poco allegretto
00:43:05 Thaïs, Act 2: Méditation
00:47:47 Preludes, Op. 28: No. 15, Prelude in D-Flat Major 'Raindrop'
00:52:37 Violin Concerto in D Major, Op. 77: II. Adagio
01:02:24 Piano Sonata No. 8 in C Minor, Op. 13 ‘Pathétique’: II. Adagio cantabile
01:07:11 Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 ‘Moonlight’: I. Adagio sostenuto
01:12:54 Piano Concerto No. 27 in B-Flat Major, K. 595: II. Larghetto
01:19:47 Bagatelle No. 25 in A Minor WoO 59 ‘Für Elise’
01:22:41 Symphony No. 5: IV. Adagietto
01:31:04 Piano Concerto No. 1 in E Minor, Op. 11: II. Romanze. Larghetto
01:41:52 Suite Bergamasque, L. 75: III. Clair de Lune
01:46:50 3 Gymnopédies: No. 1, Lent et douloureux in D Major
01:50:32 Mass in A Major, Op. 12: No. 5, Panis angelicus
01:54:04 Jesu, meine Freude, BWV 227
01:57:06 Vesperae solennes de confessore in C Major, K. 339: No. 5, Laudate Dominum
02:02:15 Sicilienne for Flute and Orchestra, Op. 78
02:05:39 Piano Concerto No. 23 in A Major, K. 488: II. Adagio
02:11:59 Ave verum corpus in D Major, K. 618
02:15:36 Berceuse, Op. 16
02:19:06 Élégie for Cello and Orchestra, Op. 24
02:25:35 Piano Trio No. 1 in D Minor, Op. 49: II. Andante con molto tranquillo
02:32:00 Dido and Aeneas, Act 3, Z. 626: When I Am Laid in Earth

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From the Symphony No.1, composed when Mozart was just eight years old, to the mature and well-loved ‘Haffner’, ‘Prague’ and ‘Jupiter’ symphonies, this comprehensive 11-CD set collects together Mozart’s complete body of work in this genre, performed on period instruments by the Mozart Akademie Amsterdam and conducted by Jaap ter Linden.

Mozart is recognised as one of the great composers of the Classical symphony, building upon the achievements made by his mentor Joseph Haydn to develop its form. At the time that he composed his Symphony No.1 in 1764, the symphony’s form was still closely linked to that of the French opera overture, with three short movements in a fast-slow-fast pattern. Gradually, composers like Haydn began to expand this structure to the four-movement form that we are familiar with as the Classical symphony. These fascinating developments in style and structure can be heard in Mozart’s changing approach to symphonic composition throughout his career, and the booklet notes that accompany this release trace such developments in depth.

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Composer: Franz Joseph Haydn
Artists: Federico Guglielmo (violin), Massimo Piva (viola)

About this Album:
Joseph Haydn was a national treasure in his native Austria. Excelling in all areas of composition, he was the ‘Father of the Symphony’, the author of such renowned vocal works such as The Creation, and a pioneer of the string quartet. He was also a vital mentor to the young Mozart.

These unique works – the only ones for violin and viola in Haydn’s oeuvre – are thought to have been written in the late 1760s or early 1770s, the period during which the composer was employed at the Esterházy court. Little is known about the circumstances of their composition, but most of Haydn’s works for violin at this time were intended for the leader of the court chapel, Luigi Tomasini. The pieces certainly tend towards being solo compositions for the violin, which is accorded the bulk of the melodic interest, with an obbligato viola part providing the harmonic support.

Accalimed violinist Federico Guglielmo studied at the Conservatorio Benedetto Marcello in Venice, later specialising in Baroque and Classical violin repertoire, and has won prizes in numerous international competitions. In this recording he plays alongside Massimo Piva, a past principal violist of Europa Galante and the Orchestra di Padova e del Veneto.

Tracklist:
00:00:00 Sonata I in F Major, Hob VI:1: Allegro moderato
00:04:48 Sonata I in F Major, Hob VI:1: Adagio e sostenuto
00:08:51 Sonata I in F Major, Hob VI:1: Tempo di menuet, variazione
00:12:12 Sonata II in A Major, Hob VI:2: Allegro moderato
00:16:27 Sonata II in A Major, Hob VI:2: Adagio
00:20:33 Sonata II in A Major, Hob VI:2: Finale (Tempo di menuet)
00:24:21 Sonata III in B Major, Hob VI:3: Andante
00:29:02 Sonata III in B Major, Hob VI:3: Adagio
00:32:08 Sonata III in B Major, Hob VI:3: Menuet
00:34:15 Sonata IV in D Major, Hob VI:4: Moderato
00:39:01 Sonata IV in D Major, Hob VI:4: Adagio
00:42:02 Sonata IV in D Major, Hob VI:4: Tempo di menuet
00:44:52 Sonata in E-Flat Major, Hob VI:5: Moderato
00:49:10 Sonata in E-Flat Major, Hob VI:5: Adagio
00:52:57 Sonata in E-Flat Major, Hob VI:5: Tempo di menuet, variazione
00:56:04 Sonata VI in C Major, Hob VI:6: Allegro
01:01:13 Sonata VI in C Major, Hob VI:6: Adagio
01:05:37 Sonata VI in C Major, Hob VI:6: Tempo di Menuet, Variazione

From around 1750, the oboe, an instrument hitherto largely used in chamber and church music, began to make its way into concert halls, and to be played by virtuoso soloists. The instrument’s construction was evolving to increase the penetration of its hi register, making it more suitable both as an orchestral and a concertante instrument. Even so, the oboe of Mozart’s day could still only play two keys, thus restricting its technical range of available music and expression. Mozart overcame those limitations most wholly successfully, as one might imagine, but none of the other works here is negligible. His friend Carl Ditters van Dittersdorf composed four concertos for the instrument and its close but obsolescent relative, the sweeter and gentler oboe d’amore, which is heard here in the A major concerto.

The first and most exuberant of three concertos by Giuseppe Ferlendis (1755 - 1810) opens the recording with pleasant and undemanding, slightly Haydnesque sequences. Then comes a greater rarity, the C major concerto by Leopold Hofmann (1738 - 1793) of more archaically Baroque cut, owing a little of its dash and brio to the Italian concertos for the instrument such as those composed by Vivaldi. In true classical style, the cadenzas for each concerto were composed/improvised by Puskunigis, who also contributes booklet notes which give valuable context to the Classical-era oboe and discuss the particularities of each composer’s writing for the instrument.

From around 1750 the oboe, an instrument hitherto largely used in chamber music and church music, began to make its way into the concert halls, and to be played by virtuoso soloists. The Oboe Concertos on this new recording represent the Classical Viennese Style, with Wolfgang Amadeus Mozart as its undisputed genius. Although the other composers, Ferlendis, Ditters von Dittersdorf and Hofmann are lesser known, their Oboe (or Oboe d’Amore) Concertos share the same grace, sparkle and melodious flow as Mozart’s masterwork.

Composers: Carl Ditters von Dittersdorf, Leopold Hofmann, Wolfgang Amadeus Mozart
Artists: Andrius Puskunigis (oboe), St. Christopher Chamber Orchestra, Donatas Katkus (conductor)

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00:00:00 Oboe Concerto in F Major, Nr. 1: I. Allegro
00:06:24 Oboe Concerto in F Major, Nr. 1: II. Adagio
00:09:11 Oboe Concerto in F Major, Nr. 1: III. Rondo, allegro con brio
00:13:04 Oboe Concerto in C Major: I. Allegro – Maestoso
00:19:22 Oboe Concerto in C Major: II. Adagio
00:25:29 Oboe Concerto in C Major: III Allegro (non) molto
00:30:57 Oboe d’amore concerto in A Major: I. Moderato
00:36:11 Oboe d’amore concerto in A Major: II. Adagio
00:41:33 Oboe d’amore concerto in A Major: III. Presto
00:44:18 Oboe Concerto in C Major, K. 314: I. Allegro aperto
00:51:32 Oboe Concerto in C Major, K. 314: II. Adagio non troppo
00:57:49 Oboe Concerto in C Major, K. 314: III. Rondo, allegretto

Best Classical Study Music:
Great Classical Music for Study, Work or just Relaxing.

Enjoy!


Philip Glass
00:00:00 The Hours – Jeroen van Veen
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Wolfgang Amadeus Mozart
00:07:13 Piano Concerto No. 23 in A, KV 488 I Allegro - Mozart Akademie Amsterdam
00:18:01 Piano Concerto No. 23 in A, KV 488 II Andante - Mozart Akademie Amsterdam
00:24:16 Piano Concerto No. 23 in A, KV 488 III Allegro - Mozart Akademie Amsterdam
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J.S. Bach
00:32:16 Goldberg Variations, BWV 988 Aria - Pieter-Jan Belder harpsichord
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Erik Satie
00:37:18 3 Gymnopédies (1889) No. 1 Lent et douloureux - Håkon Austbö piano
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Composer & Artist:
Composer: Johann Friedrich Fasch
Artists: udwig Güttler (corno da caccia I & concert master), Kurt Sandau (corno da caccia II), Andreas Lorenz (oboe I), Wolfgang Klier (oboe II), Hans-Peter Steger (bassoon), Virtuosi (Saxoniae)

About this Album:
Fame is a strange thing. Although Johann Friedrich Fasch was highly esteemed by his contemporaries and the generations of musicians who followed him, in the concert repertoire of today he is grouped together with many minor masters who wrote a lot of works that sadly communicate very little. Yet music scholar Johann Adolf Scheibe put Fasch into the same class as Telemann, and J.S. Bach possessed copies of several of the composer’s works. This release therefore aims to expose the genius of Fasch, and in doing so to help restore appreciation for what has become a largely forgotten corpus of deftly written, utterly absorbing music.

Fasch made his name largely through his overtures, works which in the 17th and 18th centuries referred to a series of dance movements prefaced by an extensive introduction of pompous gravity. Two are explored in this release – the Overture in D minor and the Overture in B flat ‘a due cori’, arranged by M. Fechner and E. Steinsdorff respectively – and they are followed by a selection of Fasch’s sonatas for two oboes and bassoon, with and without basso continuo, works whose details (such as free, fantasy-like episodes to be played at a slow pace) reveal a rich field for experimentation. A Concerto in D and a Sonata for 2 oboes and 2 bassoons also feature, and overall one is struck by this composer’s highly personal style of chamber music – a stark contrast to the ingratiating melodies and harmonic suavity of his large-scale instrumental pieces.

Tracklist:
The tracklist can be found in the comments!

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#Classical #BrilliantClassics #Music #Composer #ClassicalMusic #Fasch #InstrumentalMusic #Oboe

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Composer & Artist:
Composter: Johann Sebastian bach
Artists: Arleen Augér (soprano), Annelies Burmeister (contralto), Peter Schreier (tenor), Theo Adam (bass), Dresdner Philharmonie, Martin Flämig (conductor)

About this Album:
Johann Sebastian Bach, hero of the Baroque, has many masterpieces to his name. Among them is the Weihnachts-Oratorium BWV248, also known as the Christmas Oratorio. The work was written in 1734 to be performed at several services spanning Christmas Day to Epiphany in Leipzig. A re-telling of the Christmas story, the work has become one of the most popular choral compositions of all time and is a regular fixture in the church and concert calendars all over the world.

Tracklist:
The tracklist can be found in the comments!

#Bach #Christmas #Classical#BrilliantClassics #Music #Composer #ClassicalMusic #Bach #JSBach #ClassicalChristmasMusic #Christmas #ClassicalChristmas

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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!

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Working in all the standard genres from string quartet to symphony, sonata to concerto, ballet to opera, Reinhold Glière never attained the fame of his contemporary Rachmaninov, but his music is no less recognisably Russian, no less filled with long and aching cantabile melodies; the significant point of contrast is that Glière, who never left Russia, was not afflicted with the pervasive melancholy that so memorably colours Rachmaninov’s music.

The difference is quickly apparent in the 30 Preludes which are Glière’s major contribution to piano literature. The C minor Second may very obviously be written in the shadow of Chopin, but most of the major-key examples enjoy the carefree mood of a relaxed, Russian Brahms. Nearly all of them invite words to be sung with them, such as the spring-like No.7 or the Romance of No.15. For pianists and lovers of Romantic piano music alike, the Preludes of Glière should be a joyful discovery.

On his debut recording for Brilliant Classics, Gianluca Imperato complements the Preludes with selections from other, slighter keyboard collections: the Kinderstücke Op.31, 12 Sketches Op.47 and then the Two Piano Pieces Op.99 dating from 1955: an impromptu for left-hand alone which is not to be confused with his Op.35 No.9 (a favourite miniature for violin and cello recitals); indeed neither it nor the companion Melodie have been recorded before. They show that at the age of 80, Glière could still pen music that was remarkably refined, calm and melancholy; suspended in time, or beyond the reach of events.
Composer Reinhold Gliere
Artist Gianluca Imperato piano

00:00:00 25 Preludes, Op. 30: No. 1 in C Major
00:01:22 25 Preludes, Op. 30: No. 2 in C Minor
00:04:25 25 Preludes, Op. 30: No. 3 in D-Flat Major
00:05:23 25 Preludes, Op. 30: No. 4 in C-Sharp Minor
00:08:15 25 Preludes, Op. 30: No. 5 in D Major
00:12:01 25 Preludes, Op. 30: No. 6 in D Minor
00:13:41 25 Preludes, Op. 30: No. 7 in E-Flat Major
00:15:38 25 Preludes, Op. 30: No. 8 in E-Flat Minor
00:16:37 25 Preludes, Op. 30: No. 9 in E Major
00:20:19 25 Preludes, Op. 30: No. 10 in E Minor
00:23:22 25 Preludes, Op. 30: No. 11 in F Major
00:25:31 25 Preludes, Op. 30: No. 12 in F Minor
00:26:51 25 Preludes, Op. 30: No. 13 in F-Sharp Major
00:29:07 25 Preludes, Op. 30: No. 14 in F-Sharp Minor
00:32:09 25 Preludes, Op. 30: No. 15 in G Major
00:35:09 25 Preludes, Op. 30: No. 16 in G Minor
00:36:21 25 Preludes, Op. 30: No. 17 in A-Flat Major
00:37:12 25 Preludes, Op. 30: No. 18 in G-Sharp Minor
00:38:38 25 Preludes, Op. 30: No. 19 in A Major
00:40:43 25 Preludes, Op. 30: No. 20 in A Minor
00:43:54 25 Preludes, Op. 30: No. 21 in B-Flat Major
00:47:11 25 Preludes, Op. 30: No. 22 in B-Flat Minor
00:48:34 25 Preludes, Op. 30: No. 23 in B Major
00:50:17 25 Preludes, Op. 30: No. 24 in B Minor
00:51:05 25 Preludes, Op. 30: No. 25 in C Major
00:52:42 Romance No. 2, Op. 16
00:56:07 Kinderstücke, Op. 31: IV. Träumereien
00:58:23 Kinderstücke, Op. 31: VI. Valzer
01:00:05 Kinderstücke, Op. 31: X. Lied aus dem Osten
01:01:38 Kinderstücke, Op. 31: XI. Albumblatt
01:03:37 12 Sketches, Op. 47: III. Gajamente
01:04:38 12 Sketches, Op. 47: VII. Agitato
01:05:36 Two Piano Pieces, Op. 99: I. Impromptu for the Left Hand in E Major
01:08:26 Two Piano Pieces, Op. 99: II. Melodie B-Flat Major

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A TOP 40 of the most popular classical melodies. The very best tracks of the moment. Also great for Relaxation music, work or studying.

00:00:00 Vivaldi - Violin Concerto in E Major, RV 269, "Spring": I. Allegro
00:03:30 Camille Saint-Saëns - The Carnival of the Animals: XIII. The Swan
00:06:27 Mozart - Sonata No. 11 in A Major, K. 331: III. Rondo alla turca
00:09:55 Chopin - Waltzes, Op. 64: No. 1, Waltz in D-Flat Major "Minute Waltz"
00:11:37 Mozart - Eine kleine Nachtmusik, K. 525: I. Allegro

00:16:52 Gabriel Fauré - Sicilienne, Op. 78
00:20:16 Claude Debussy - Childrens Corner, L. 113: No. 6, Golliwog's Cake-walk
00:22:57 Franz liszt - Liebestraum, S. 541: No. 3, Oh Lieb, so lang du lieben kannst
00:27:29 Johannes Brahms - 16 Waltzes, Op. 39: No. 15, Waltz in A-Flat Major "Lullaby"
00:29:06 Beethoven - Piano Sonata No. 8 in C Minor, Op. 13, "Pathetique": I. Adagio cantabile

00:33:48 Robert Schumann - Kinderszenen, Op. 15: No. 7, Traumerei in F Major
00:36:56 Mozart - Piano Concerto No. 23 in A Major, K. 488: II. Adagio
00:43:12 Nicolló Paganini - Cantabile e Valser, Op. 19: I. Cantabile quasi adagio
00:46:40 Franz liszt - Consolations, S. 172: III. Lento placido in D-Flat Major
00:49:43 Charles-valentin Alkan - 6 French Songs, Op. 65: No. 6, Barcarolle

00:53:25 J.S. Bach - Brandenburg Concerto No. 4 in G Major, BWV 1049: II. Andante
00:56:58 Beethoven - Bagatelle in A Minor, WoO 59 "Für Elise"
00:59:48 Edvard Grieg - Lyric Pieces, Op. 43: No. 6, To Spring
01:02:15 Telemann - Ouverture-Suite in E Minor, TWV 55: No. 6, Air. Un peu vivement
01:06:38 Gabriel Fauré - Berceuse, Op. 16

01:10:04 Vivaldi - Flute Concerto No. 3 in D Major, RV 428 "Il gardellino": I. Allegro
01:14:06 Mussorgsky - Pictures at an Exhibition: Promenade II, No. 2, The Old Castle
01:19:11 Beethoven - Piano Sonata in C-Sharp Major, Op. 27 No. 2 "Moonlight": I. Adagio sostenuto
01:24:49 Claude Debussy - Suite Bergamasque, L. 75: III. Clair de Lune
01:29:44 Erik Satie - 3 Gymnopédies: No. 1, Lent et douloureux in D Major

01:33:23 Mozart - Piano Concerto in C Major, K. 467: II. Andante "Elvira Madigan"
01:40:13 Franz liszt - 2 Concert-Studies, S. 145: No. 1, Waldesrauschen. Vivace
01:44:17 Tchaikovsky - The Seasons, Op. 37a: No. 10, October. Autumn Song in D Minor. Andante doloroso e molto cantabile
01:47:41 Anatoly Lyadov - 2 Morceaux, Op. 9: No. 1, Valse
01:50:43 Felix Mendessohn - Lieder ohne Worte, Op. 19b: No. 6, Venetian Gondola Song. Andante sostenuto

01:52:14 Claude Debussy - 2 Arabesques, L. 66: No. 1, Première Arabesque in E Major
01:56:22 Chopin - Nocturnes, Op. 9: No. 2, Nocturne in E-Flat Major
02:00:40 Edvard Grieg - Lyric Pieces, Op. 54: No. 3, March of the Dwarfs
02:03:32 Gabriel Fauré - Requiem, Op. 48: XII. In Paradisum
02:06:45 J.S. Bach - Jesu, meine Freude, BWV 227
02:09:45 Erik Satie - Gnossiennes: No. 5, Moderato
02:12:31 Tchaikovsky - The Seasons, Op. 37a: No. 3, March. Song of the Lark in G Minor. Andantino espressivo
02:14:12 Johannes Brahms - Symphony No. 3, Op. 90: III. Poco allegretto in C Minor
02:20:12 Franz Schubert - 6 Moments musicaux, D. 780: No. 3, Allegro moderato
02:22:16 Chopin - Preludes, Op. 28: No. 15, Prelude in D-Flat Major "Raindrop"

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Composer: Luigi Boccherini
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

The third part of the Boccherini string quintets performed by La Magnifica Communitá, containing the 6 quintets Op. 13 written in 1772. Delightful classical music which has been an example to many of Boccherini’s younger colleagues. He was one of the first to write for string quintet and the five parts are beautifully balanced.

The musicians of La Magnifica Communitá research their interpretations thoroughly. They perform Boccherini’s music in a pleasantly whole-hearted way, being both down to earth and airy.

00:00:00 Quintetto I In E Flat Major G. 277 : Maestoso
00:05:42 Quintetto I In E Flat Major G. 277 : Larghetto Con Espressione
00:09:27 Quintetto I In E Flat Major G. 277 : Minuetto: Allegro
00:13:35 Quintetto I In E Flat Major G. 277 : Presto
00:19:56 Quintetto Ii In C Major G. 279 : Allegro Maestoso
00:28:23 Quintetto Ii In C Major G. 279 : Larghetto
00:31:48 Quintetto Ii In C Major G. 279 : Presto
00:35:22 Quintetto Iii In F Major G. 279 : Prestissimo
00:41:58 Quintetto Iii In F Major G. 279 : Largo
00:47:49 Quintetto Iii In F Major G. 279 : Tempo Di Minuetto, Trio
00:51:17 Quintetto Iii In F Major G. 279 : Presto
00:55:37 Quintetto Iv In D Minor G. 280 : Allegro
01:04:39 Quintetto Iv In D Minor G. 280 : Andante Sostenuto
01:10:45 Quintetto Iv In D Minor G. 280 : Fuga (allegro Giusto)
01:14:52 Quintetto Iv In D Minor G. 280 : Andantino
01:20:34 Quintetto Iv In D Minor G. 280 : Allegro Giusto
01:25:54 Quintetto Iv In D Minor G. 280 : Presto Assai
01:29:47 Quintetto Vi In E Major G. 282 : Andante Sostenuto
01:33:02 Quintetto Vi In E Major G. 282 : Allegro Con Spirito
01:38:56 Quintetto Vi In E Major G. 282 : Minuetto
01:42:12 Quintetto Vi In E Major G. 282 : Rondeau, Allegro

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Composer: Johann Sebastian Bach
Artists: Viruosi Saxoniae, Ludwig Guttler (conductor)

Can one ever tire of the dancing inspiration that animates these four portmanteau collections which have delighted both serious and casual listeners ever since Bach compiled them for use in social occasions as the 30-something Kapellmeister at the briefly enlightened court of Prince Leopold of Cöthen, exulting in the multifarious influences which he had absorbed and could place at the service of a compositional mind of unequalled intellectual brilliance yet always conscious of his music’s need to entertain, to give delight as well as accompany the sober thoughts of his congregations?

Not, at any rate, in these performances from a virtuoso German ensemble hailing from Bach’s own part of the world and masterminded by a superb trumpeter-turned-conductor who well understands the exuberant, public character of these suites, their occasional purposes, for all that in such moments as the famous Air from the G major Suite, No.3, they appear to take on a more confiding aspect, drawing the listener in before dispelling the tension with another jolly minuet or charming sarabande.

Bach’s Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach’s evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.
Played by the Virtuosi Saxoniae conducted by trumpetist/conductor Ludwig Güttler, modern instruments in Historically Informed Performance Practice, the best of both worlds.

00:00:00 Suite in C Major, BWV 1066: I. Ouverture
00:05:38 Suite in C Major, BWV 1066: II. Courante
00:07:16 Suite in C Major, BWV 1066: III. Gavotte No. 1 - Gavotte No. 2
00:09:43 Suite in C Major, BWV 1066: IV. Forlane
00:11:00 Suite in C Major, BWV 1066: V. Menuet No. 1 - Menuet No. 2
00:13:45 Suite in C Major, BWV 1066: VI. Bourrée No. 1 - Bourrée No. 2
00:16:10 Suite in C Major, BWV 1066: VII. Passepied No. 1 - Passepied No. 2
00:19:20 Suite in B Minor, BWV 1067: I. Ouverture
00:25:45 Suite in B Minor, BWV 1067: II. Rondeau
00:27:25 Suite in B Minor, BWV 1067: III. Sarabande
00:30:18 Suite in B Minor, BWV 1067: IV. Bourrée No. 1 - Bourrée No. 2
00:32:09 Suite in B Minor, BWV 1067: V. Polonaise No. 1 - Polonaise No. 2
00:35:10 Suite in B Minor, BWV 1067: VI. Menuet
00:36:18 Suite in B Minor, BWV 1067: VII. Badinerie
00:37:45 Suite in D Major, BWV 1068: I. Ouverture
00:44:21 Suite in D Major, BWV 1068: II. Air
00:48:38 Suite in D Major, BWV 1068: III. Gavotte No. 1 - Gavotte No. 2
00:51:49 Suite in D Major, BWV 1068: IV. Bourrée
00:53:04 Suite in D Major, BWV 1068: V. Gigue
00:55:50 Suite in D Major, BWV 1069: I. Ouverture
01:02:39 Suite in D Major, BWV 1069: II. Bourrée No. 1 - Bourrée No. 2
01:05:32 Suite in D Major, BWV 1069: III. Gavotte
01:07:16 Suite in D Major, BWV 1069: IV. Menuet No. 1 - Menuet No. 2
01:10:45 Suite in D Major, BWV 1069: V. Réjouissance

Tracklist Below:
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Telemann wrote so much and so well for the flute with the understanding of one who knew the instrument from the inside. ‘How my heart beats,’ he wrote, ‘when I see the walls and corners of the room covered with musical instruments… Excellent instrumentalists have made me want to improve my performance on my instruments. I would have done so if an inner fire had spurred me beyond the keyboard, the violin and the flute, to learn the oboe, the chalumeau, the viola da gamba, or indeed the double bass and the bass trombone.’
In line with their earlier work on Vivaldi for Brilliant Classics (BC95078), Hanspeter Oggier and the Ensemble Fratres have now chosen to address the delectable feast of Telemann’s wonderfully joyous music. Meticulous in his work, alert and inventive, Telemann was a great colourist whose coherence and open mindedness enabled him to address the widest audience. The particular appeal of this collection is that the flute parts are taken by the pan-flute, which lend a rustic, sometimes insouciant colour to pairs of suites and concertos. In Telemann the prevalence of curiosity over perfectionism suggests the desire to produce works that were straightforward and accessible to all. There is no hint of superficiality in this approach, however: he sensitively assimilated both Italian and French musical languages as well as certain traditional Polish stylistic elements. These and other ingredients he accepted as simple, pliable mother tongues, without trying to adapt them to his native German idiom.

In the Baroque it was by no means uncommon for composers to freely transcribe and arrange their own works or works by others for a different instruments. Therefore, any present day attempt of alternative instrumentation should be viewed with respect and curiosity: the result counts. And what result we encounter on this new recording of Flute Concertos by Telemann transcribed for the Pan Flute! By turns dramatic and furious, sweet and beguiling: the pan flute has infinite colouristic qualities to do full justice to these master works. The pan flute in its present form originates from 17th century Rumania, mostly used as a folk music instrument. However the use of the pan flute in “classical” Baroque music is by no means an abomination. The improvisatory character, the organic way of tone production which is regulated by the intensity of the breath of the player suit the Baroque music particularly well! Exhilarating performances by Master Pan flutist Hanspeter Oggier and his Ensemble Fratres. They already recorded successfully flute concertos by Vivaldi for Brilliant Classics (BC95078). Extensive liner notes on the music and the instrument included.

00:00:00 Ouverture-Suite in A Minor, TWV 55:a2: I. Ouverture
00:10:37 Ouverture-Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:14:09 Ouverture-Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:21:03 Ouverture-Suite in A Minor, TWV 55:a2: IV. Menuett I-II
00:24:55 Ouverture-Suite in A Minor, TWV 55:a2: V. Rejouissance
00:27:24 Ouverture-Suite in A Minor, TWV 55:a2: VI. Passepied I-II
00:28:59 Ouverture-Suite in A Minor, TWV 55:a2: VII. Polonoise
00:32:59 Flute Concerto in D Major, TWV 51:D2: I. Moderato
00:35:33 Flute Concerto in D Major, TWV 51:D2: II. Allegro
00:39:47 Flute Concerto in D Major, TWV 51:D2: III. Largo
00:43:22 Flute Concerto in D Major, TWV 51:D2: IV. Vivace
00:46:26 Ouverture-Suite in G Major, TWV 55:G2: I. Ouverture
00:51:34 Ouverture-Suite in G Major, TWV 55:G2: II. Courante
00:53:46 Ouverture-Suite in G Major, TWV 55:G2: III. Gavotte en rondeau
00:54:52 Ouverture-Suite in G Major, TWV 55:G2: IV. Branle
00:55:49 Ouverture-Suite in G Major, TWV 55:G2: V. Sarabande
00:57:37 Ouverture-Suite in G Major, TWV 55:G2: VI. Fantaisie
00:58:48 Ouverture-Suite in G Major, TWV 55:G2: VII. Menuet I-II
01:02:28 Ouverture-Suite in G Major, TWV 55:G2: VIII. Rossignol
01:04:25 Flute Concerto in G Major, TWV 51:G2: I. Andante
01:07:08 Flute Concerto in G Major, TWV 51:G2: II. Vivace
01:09:43 Flute Concerto in G Major, TWV 51:G2: III. Adagio
01:11:50 Flute Concerto in G Major, TWV 51:G2: IV. Allegro

Artist:
Hanspeter Oggier pan flute
Ensemble Fratres

Tracklist in the comment section:
TOP 50 Best Piano Classics For Kids

A wonderful selection of the most famous piano pieces written for children, by the great composers.

These charming and appealing pieces stimulate the imagination and brings you in the world of Fairy Tales (Grieg’s March of the Dwarfs, riding a wooden horse (Schumann’s Kinderszenen), playing in the snow (Debussy’Children’s Corner), and ending in a peaceful slumber of the Berceuse by Chopin.

Played by world renowned pianists Klára Würtz and Alexander Warenberg.

Tracklist below.

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Artist: Ensemble Seicentonovecento, Flavio Colusso (conductor)

Today Mascagni is best remembered for his verismo opera Cavalleria rusticana, a work which firmly belongs in many of the greatest opera houses’ core repertory, but his Messa di Gloria – which predates this composition by a matter of months and from which many of Cavalleria’s themes in fact derive – was also greatly lauded in its day. Mascagni’s interest in church music can be traced back to the days of his gifted adolescence: by the age of 13 he has written a Kyrie; at the age of 16 he refers in a letter to his involvement in composing a Mass (together with his friend Barbini); and during his student days in Milan he composed a motet as well as a great deal of music for the Messa per la festa di Maria SS. del Rosario. First performed in the Apulian town of Cerginola and conducted by the composer himself, a contemporary account of the Messa di Gloria described it as ‘a very powerful and original work, full of beauty, inspired by the requirements of modern taste’. In 1891 Mascagni repeated the peformance to an audience of 6000, as part of the celebrations marking the sixth centenary of Orvieto’s famous cathedral; such was the reception that the magazine Teatro illustrato declared the occasion ‘an event for the art of music in Italy’. Anyone expecting to hear a chorale, a fugue or even a simple fugato anywhere in the piece would have been disappointed, however, and doubts were raised regarding the religious nature of the work.

Instead, as the composer himself wrote, the Messa di Gloria can be described as a ‘prayer. The Mass is a prayer, all love and all passion!’ Here it is performed with aplomb by Ensemble Seicentonovento, an internationally renowned vocal-instrumental group that has recorded widely and appeared with such notable singers as José Carreras and Patrizia Pace. Iorio Zennaro and Pietro Spagnoli contribute well-executed arias to the mix as the respective tenor and bass soloists.

00:00:00 Messa di Gloria: Kyrie (Tenor, Bass, Chorus)
00:05:18 Messa di Gloria: Gloria (Tenor, Bass, Chorus)
00:07:00 Messa di Gloria: Gloria. Laudamus (Tenor, Chorus)
00:11:25 Messa di Gloria: Gloria. Gratias (Bass)
00:16:30 Messa di Gloria: Gloria. Domine Deus (Tenor, Bass)
00:18:48 Messa di Gloria: Gloria. Qui tollis (Tenor)
00:23:11 Messa di Gloria: Gloria. Qui sedes (Bass)
00:27:30 Messa di Gloria: Gloria. Quoniam (Tenor, Bass, Chorus)
00:28:42 Messa di Gloria: Gloria. Cum Sancto Spiritu (Tenor, Bass, Chorus)
00:29:51 Messa di Gloria: Credo (Chorus)
00:31:32 Messa di Gloria: Credo. Et incarnatus (Tenor, Chorus)
00:35:07 Messa di Gloria: Credo. Et resurrexit (Tenor, Bass, Chorus)
00:38:12 Messa di Gloria: Sanctus (Tenor, Chorus)
00:40:21 Messa di Gloria: Sanctus. Elevazione
00:44:08 Messa di Gloria: Sanctus. Benedictus (Bass)
00:47:15 Messa di Gloria: Sanctus. Hosanna (Chorus)
00:47:53 Messa di Gloria: Agnus Dei (Tenor, Bass, Chorus)

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Francesco Cilea may now be best remembered as a composer of durable, blood-and-thunder staples of the verismo operatic school such as Adriana Lecouvreur and L’Arlesiana, but he addressed himself to chamber and instrumental music at both the beginning and end of his long career. Conservative and unfailingly melodic as his chosen idiom was, it nonetheless evolved in the 66 years between student salon pieces such as the Tre piccoli pezzi of 1888 and the album-leaf of 1944.

There have been a few surveys of Cilea’s piano music on record, but none as complete as this new recording from Pier Paolo Vincenzi, who has already won critical praise on Brilliant Classics for recordings of piano rarities. A Diabelli Variations album (BC94836) gathered all the composers who had initially responded to the Viennese publisher’s request for variations on his little waltz together with the late masterpiece of variation form eventually devised by Beethoven. Vincenzi has also recorded the complete piano music of Richard Wagner (BC94450) which drew this notice from Fanfare magazine: ‘Vincenzi has the kind of sparkling, clear Italian touch one often associates with Benedetti, Michelangeli, or, more recently, Luisi. His playing alternates between seriousness and sensuality, drama and joy, and the listener is with him every step of the way… [His] performances are the recommended ones.

Composer Francesco Cilea
Artist

Pier Paolo Vincenzi piano
Marco Gaggini piano

00:00:00 Tre piccoli pezzi: I. Melodia
00:01:54 Tre piccoli pezzi: II. Serenata
00:04:13 Tre piccoli pezzi: III. Danza
00:06:28 Chanson du rouet, Op. 4
00:09:04 Canto del mattino, Op. 5
00:12:17 La petite coquette – Air de danse, Op. 9
00:15:01 C’est toi que j’aime – Impromptu à la mazurka, Op. 10
00:17:50 Aria campestre
00:19:19 Flatterie, Op. 11
00:21:38 Mazurka, Op. 14
00:24:17 Badinage, Op. 15
00:26:28 Berceuse, Op. 20
00:28:37 Notturno, Op. 22
00:32:12 Seconda danza, Op. 26
00:33:53 Trois petits morceaux, Op. 28: I. Loin dans la mer
00:36:32 Trois petits morceaux, Op. 28: II. Feuille d’album
00:38:51 Trois petits morceaux, Op. 28: III. Pensée espagnole
00:40:32 Tre pezzi, Op. 29: I. Romanza
00:43:40 Tre pezzi, Op. 29: II. Scherzino
00:46:11 Tre pezzi, Op. 29: III. Barzelletta
00:48:59 Gocce di rugiada, Op. 33
00:51:49 Au village, Op. 34
00:53:37 A la mazurka, Op. 35
00:55:02 Valzer, Op. 36
00:56:51 Foglio d’album, Op. 41
00:58:51 Suite, Op. 42: I. Allegro
01:00:54 Suite, Op. 42: II. Sarabanda
01:04:30 Suite, Op. 42: III. Capriccio
01:07:56 Foglio d’album, Op. 41
01:09:54 Fuga reale
01:12:10 Tre pezzi, Op. 43: I. Verrà?
01:15:09 Tre pezzi, Op. 43: II. Acque correnti
01:17:19 Tre pezzi, Op. 43: III. Valle fiorita
01:21:15 Due pezzi: I. Risonanze nostalgiche
01:29:24 Due pezzi: II. Festa silana
01:33:19 Scherzo
01:37:57 Scherzando
01:41:09 Danza calabrese
01:45:05 Impromptu
01:48:20 Mazurka
01:49:55 Preludio
01:51:32 Vespero
01:54:35 Foglio d’album
01:56:14 Invocazione
01:58:51 Serenata a dispetto
02:00:52 Danza
02:04:41 Four Hands Music: Untitled in A Major
02:08:12 Four Hands Music: Chansonnette, Op. 31
02:10:14 Four Hands Music: Sentiment poétique
02:12:33 Four Hands Music: Amour joyeux, Op. 37
02:15:27 Idillio
02:18:40 Alla gavotte

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Composer: Johann Sebastian Bach
Artists: Pieter-Jan Belder (harpsichord and organ)
Johannete Zomer (soprano)

An exciting recording by two fabulous Dutch musicians, harpsichordist Pieter-Jan Belder and soprano Johannette Zomer. These days soprano Zomer is making quite an impression on critics and audiences alike.

Bach’s small gem written for his second wife, Anna Magdalena contains pieces for solo keyboard and songs. Today they give the listener an insight into Bach’s domestic music making. This release presents not just the keyboard works. In eleven works the keyboard player is joined by a vocalist.

A delightful record with intimate and radiant performances.

00:00:00 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 113
00:01:28 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 114 (Arr. J.S. Bach)
00:02:54 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 115 (Arr. J.S. Bach)
00:04:24 Notebook for Anna Magdalena Bach: Rondeau, Les Bergeries, BWV Anh. 183 (Arr. J.S. Bach)
00:08:08 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 116
00:09:45 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 117
00:11:38 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 118
00:12:53 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 119
00:13:47 Notebook for Anna Magdalena Bach: Choral. Wer nur den lieben Gott lässt walten, BWV 691
00:15:17 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 510
00:17:01 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 511
00:18:25 Notebook for Anna Magdalena Bach: Gib dich zufrieden und sei stille, BWV 512
00:19:39 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 120
00:20:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 121
00:21:52 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 122 (Arr. J.S. Bach)
00:22:52 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 123 (Arr. J.S. Bach)
00:24:08 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 124 (Arr. J.S. Bach)
00:25:31 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 125 (Arr. J.S. Bach)
00:27:18 Notebook for Anna Magdalena Bach: Aria. So oft ich meine Tobackspfeife, BWV 515a
00:33:27 Notebook for Anna Magdalena Bach: Menuet, fait par Mons (Arr. J.S. Bach)
00:34:38 Notebook for Anna Magdalena Bach: Musette, BWV Anh. 126
00:35:41 Notebook for Anna Magdalena Bach: Marche, BWV Anh. 127
00:37:19 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 128
00:38:47 Notebook for Anna Magdalena Bach: Bist du bei mir, BWV 508
00:41:27 Notebook for Anna Magdalena Bach: Aria, BWV 988 (Arr. J.S. Bach)
00:45:24 Notebook for Anna Magdalena Bach: Solo per il Cembalo, BWV Anh. 129 (Arr. J.S. Bach)
00:48:23 Notebook for Anna Magdalena Bach: Polonaise, BWV Anh. 130 (Arr. J.S. Bach)
00:50:16 Notebook for Anna Magdalena Bach: Präludium, BWV 846
00:52:57 Notebook for Anna Magdalena Bach: Without Title, BWV Anh. 131
00:53:44 Notebook for Anna Magdalena Bach: Aria. Warum betrübst du dich, BWV 516
00:55:33 Notebook for Anna Magdalena Bach: Recitative and Aria. Ich habe genug, BWV 82
01:03:58 Notebook for Anna Magdalena Bach: Schaff's mit mir, Gott, BWV 514
01:04:51 Notebook for Anna Magdalena Bach: Menuet, BWV Anh. 132
01:05:38 Notebook for Anna Magdalena Bach: Aria di Giovannini, BWV 518
01:08:08 Notebook for Anna Magdalena Bach: Choral. Dir, Dir, Jehova, will ich singen, BWV 299
01:09:26 Notebook for Anna Magdalena Bach: Wie wohl ist mir, o Freund der Seelen, BWV 517
01:10:38 Notebook for Anna Magdalena Bach: Aria. Gedenke doch, mein Geist, BWV 509
01:12:04 Notebook for Anna Magdalena Bach: O Ewigkeit, du Donnerwort, BWV 513

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The first complete recording based on the new Curci edition of the famous 20 Studies of the Spanish composer Fernando Sor (1778 - 1839) selected by Andrés Segovia and edited by Angelo Gilardino. Completely revisited in the timbres and colors of high value music for six strings belonging to the classical repertoire and of great interest to students and professionals.
A complete and innovative reading, carried out thanks to 'urtext' version, the latter the result of a comparison of minunzioso sources. It follows a synoptic reading of the two versions from which emerge in a transparent way the nature of the work of Segovia and creative teaching of a classical author that he read and interpreted in the light of his aesthetics and his ideal.
Composer: Fernando Sor
Artist: Cristiano Porqueddu (guitar)

00:00:00 Studio Op.6 n.8 (I)
00:02:29 Esercizio Op.35 n.13 (II)
00:03:23 Studio Op.6 n.2 (III)
00:04:44 Studio Op.6 n.1 (IV)
00:06:08 Esercizio Op.35 n.22 (V)
00:09:03 Esercizio Op.35 n.17 (VI)
00:10:48 Lezione Op.31 n.21 (VII)
00:12:54 Lezione Op.31 n.16 (VIII)
00:15:12 Lezione Op.31 n.20 (IX)
00:16:17 Lezione Op.31 n.19 (X)
00:18:02 Studio Op.6 n.3 (XI)
00:19:40 Studio Op.6 n.6 (XII)
00:21:26 Studio Op.6 n.9 (XIII)
00:24:40 Studio Op.6 n.12 (XIV)
00:30:57 Esercizio Op.35 n.16 (XV)
00:32:42 Studio Op.29 n.3 (XVI)
00:35:07 Studio Op.6 n.11 (XVII)
00:38:51 Studio Op.29 n.22 (XVIII)
00:43:34 Studio Op.29 n.13 (XIX)
00:48:20 Studio Op.29 n.17 (XX)