Vienna Recital [Import]

Track Listings

1. Sonata In E Major K. 380

2. Sonata In G Major K. 13

3. Allegro Moderato

4. Andante Cantabile

5. Allegretto

6. PrÉAmbule

7. Pierrot

8. Arlequin

9. Valse Noble

10. Eusebius

11. Florestan

12. Coquette

13. RÉPlique

14. Papillons

15. A.S.C.H. - S.C.H.A. (Lettres Dansantes)

16. Chiarina

17. Chopin

18. Estrella

19. Reconnaissance

20. Pantalon Et Colombine

See all 27 tracks on this disc

Editorial Reviews
Album Details
The Vienna Recital Disc was Recorded in the Renowned Musikverein, which Boasts a Rich Legacy of Performers Including Franz Liszt, Sergej Rachmaninov, and Vladimir Horowitz. Yundi Li Has Thus Far Proved his Recording Merits with the Romantic Repertoire, and While his New CD features One Liszt Composition, 'rhapsody Espagnole', it also Demonstrates the Breadth of Li's Artistic Range as He Explores New Musical Terrain: Schumann's Carnaval, Two Scarlatti Sonatas and - Just in Time for the Mozart Year 2006 - Mozart's Sonata Kv 330. If Critics Respond as Positively to the CD as They Did Li's Live Performances, this Disc Will Take Yundi Li to the Next Level in Terms of Record Sales: 'this Recital Confirmed that He Belongs with the New Pianistic Superstars' Wrote American Record Guide.

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Sonata In E Major K. 380
Sonata In G Major K. 13
Allegro Moderato
Andante Cantabile
Allegretto
Prmbule
Pierrot
Arlequin
Valse Noble
Eusebius
Florestan
Coquette
Rlique
Papillons
A.S.C.H. - S.C.H.A. (Lettres Dansantes)
Chiarina
Chopin
Estrella
Reconnaissance
Pantalon Et Colombine
Valse Allemande
Paganini. Intermezzo
Aveu
Promenade
Pause
Marche Des ''Davidsbdler" Contre Les Philistins
Rhapsodie Espagnole (Folies D'espagne Et Jota Aragonesa) S 254

Album Details

The Vienna Recital Disc was Recorded in the Renowned Musikverein, which Boasts a Rich Legacy of Performers Including Franz Liszt, Sergej Rachmaninov, and Vladimir Horowitz. Yundi Li Has Thus Far Proved his Recording Merits with the Romantic Repertoire, and While his New CD features One Liszt Composition, 'rhapsody Espagnole', it also Demonstrates the Breadth of Li's Artistic Range as He Explores New Musical Terrain: Schumann's Carnaval, Two Scarlatti Sonatas and - Just in Time for the Mozart Year 2006 - Mozart's Sonata Kv 330. If Critics Respond as Positively to the CD as They Did Li's Live Performances, this Disc Will Take Yundi Li to the Next Level in Terms of Record Sales: 'this Recital Confirmed that He Belongs with the New Pianistic Superstars' Wrote American Record Guide.

Customer Reviews:

The Downside of Yundi Li's Pianism.......2007-07-19

'(T)his Recital Confirmed that He Belongs with the New Pianistic Superstars' - wrote American Record Guide.
I wonder where from this guy formulates this view if this CD is the very item under review.
For long, I have been very wary of Yundi Li's artistic progress after his being hyped by the commercial media right after his Warsaw win in Y2K.
This CD probably presents him at his weakest - and if you just know but a little bit of piano playing, you will see what I mean.
The opening pieces expose Li's interpretive limit almost to the full. The pieces are nowhere pyrotechnical show pieces, and it is exactly in such places that expose the pianist's artistry. Ths Scarlatti sonatas and the Mozart K330 all played in transparent delicacy, but wholly without soul and feeling. Nuances, if any, are teeny and lack any emotional depth.
The supposedly affectionate Schumann pieces suffer the same plight.
Any musical student will be able to answer you if asked what matters primarily in good music making - feeling.
Granted, Li began learning pianoforte quite late - after 8. As of now, his technique is almost flawless. A big word of caution, though - he should not take it that by merely employing his technique in demanding pieces, it will be able to improve his artistry. Rather, he should allow himself more opportunities to be nurtured in all different branches of Western classical music - including vocal music and operas, in order to gain the dire needed musical maturity.
It would take quite some time before this promising keyboard athlete would really mature musically.
You may pass this item with no regret.

Mark my words...........2007-06-08

...this man is going to ultimately take his place in the pantheon of the very greatest piano artists -- Rubenstein, Richter and their few peers. He already has distinguished himself among concert reviewers as the antidote to the shallow showmanship of, for example, Lang Lang. Li's astonishing technique is in the service of a profound musicianship that galvanized me upon first hearing this recording's Scarlatti on the radio. Every single work on the CD is performed as beautifully and powerfully as I've ever heard it in decades of attentive listening. I am very excited about this young musician.

A very young talent in progress! .......2007-04-02

Yundi Li really promises to become one of the most prominent colorists of this new century. Its sound is not precisely expressive but suggestive. In this sense he would be regarded a player whose style possesses something of the incorporeal vitality of Gieseking, the introspection of Radu Lupu and the phrasing of Guiomar Novaes. His next recordings on Debussy and Ravel must be first order performances.

Personally I think his Mozart must be polished and matured (because Mozart is not Haydn), his Scarlatti is plenty of admirable sharpness and wondrous vitality; his Schumann is hovered by that enigmatic atmosphere that embosses and enriches the Romantic mood of this well known Op. And his Liszt possesses that flaming elegance with abrupt concessions of virtuous splendor. Somehow he reminds me to the young Brendel in the late fifties

The Italians have a fortunate expression: Augury. So, don't forget him, because he will be one of the masters in the next years to come. .

Brilliant Performance.......2007-03-23

I have heard this pianist in a live performance and his recordings are better. This one(and I have them all) is particularly good. Not as good as Lang Lang but close.

Competent but not Enlightened.......2007-02-12

Little more needs to be said than has been said by the many other reviewers. I came to the CD enthralled with Yundi Li through his recordings of Chopin and Liszt. I was especially eager to hear what he would do with Schumann's Carnaval.

I was a bit disappointed. I believe there is more to this music than Yundi Li mines. His Scarlatti and Mozart are also well played but not memorable. There is much more that could have been communicated with the Mozart that Yundi Li did not find.

The title "Vienna Recital" led me to believe that this was a live recording of a recital given in Vienna, but there is no applause and no indication of this being a live performance. I was a little surprised by that.

Taken together, I was pleased to see that Yundi Li is branching out beyond his limited repertoire of Chopin and Liszt, but he has yet to bring to his new repertoire what he has so admirably accomplished with his earlier choices.

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Brava Diva!--A Tribute to Dame Gwyneth
An Amazing and Versitile Performer
The first studio sampling of a burgeoning stage career
HEARING HER WAS ONLY HALF THE STORY

Operatic Recital

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Dame Gwyneth Jones sings Wagner
Classic Recitals: Elena Suliotis
Presenting Sylvia Sass, Opera's Sensational New Star

ASIN: B0006M4RNS
Release Date: 2005-03-08

Customer Reviews:

Brava Diva!--A Tribute to Dame Gwyneth.......2006-07-21

More often than not, Wagner and Strauss operas are performed by singers who make it their primary goal to survive it to the end of these roles vocally unscathed, often sacrificing drama for vocalizing that thrills, but does not touch. I find that Gwyneth Jones offers not only that vocal thrill, but a most intelligent performance of the Olympian Wagner and Strauss roles that she excelled at during the 60's to the early 90's.

Her Brunnhilde, captured on video in the acclaimed Centennial Ring at Bayreuth, is the work of a great artist. The most amazing thing is, it is a huge voice encased in the body of a svelte, beautiful woman.

It is true that there are moments when Jones' voice isn't at its best behaviour, but no other Wagnerian soprano (and that includes singers like Nilsson, Varnay, Dernesch, Flagstad, and Traubel), were able to get into the character as much as Jones did, except maybe Martha Modl. Saying that, her voice is much more beautiful and powerful than Modl's. From her entrance in Walkure hurling her hojotohos at Wotan, to the Todesverkundigung scene, to the magnificent love duet at the end of Siegfried's act 3, and to the Immolation Scene, each one of these jewels from that Ring leave us with a feeling that we are seeing the actual character and not just a hulky diva showing off her vocal prowess. In my opinion, she is the best Brunnhilde ... period. The record companies who documented this great artist's career have also given us a taste of Jones' Senta, Venus, Elisabeth, Ortrud, Eva, Isolde, and Kundry. The best of these in my opinion, are her Kundry and Senta.

People say that Christa Ludwig gives the definitive Kundry on record. That is true if you are referring only to Kundry's soft side. If you want the complete Kundry as Wagner inteded to have the role acted, you must sample Jones' Kundry in her Parsifal with Boulez. It is demonic, malevolent, yet tender and resigned and tired when she needs to be. Jones is the definitive Kundry. On the other hand, when portraying Senta's dementia, no other artist captures the essence of the character like Jones. Her control of dynamics, in addition to her dramatic skills and her beautiful voice, make the performance one to cherish. Not falling far behind these two amazing portraits is Ortrud, and Jones' ability to bring about a sinister tone in her voice creates an atmosphere that no other villainess is able to achieve in record. In a Bayreuth performance, Jones also doubles as both Venus and Elisabeth in Tannhauser, and what is most astounding is that she is able to create characters who are distinctly different from each other with one voice. Her Isolde is captured in video with Rene Kollo as Tristan, and while her voice does not suggest the young princess character of Isolde, her performance is a complete, touching portrayal of the love stricken princess, culminating in a sublime Liebestod. Her Eva, recorded in Bayreuth, is not a definitive Eva, but it is nonetheless one of the most interesting performances ever recorded. Later in her career, Jones began singing Turandot, Elektra, Salome, the Dyer's Wife in Frau Ohne Schatten, and other great Strauss roles (one of them being her elegant and beautiful Marschallin with Carlos Kleiber). Her Turandot is the most wonderfully characterized portrayal of the role I have heard, and unlike most ice princesses, she exudes a certain sexuality that no other soprano gives to the character. The same can be said of her Salome too, but if one were to judge Jones at the calibre of her performances, one must see her Elektra and her Dyer's Wife. A recording of her performance of Elektra with Leonie Rysanek as Klytamnestra showcases these two divas at their most demented vocal powers. Since then, I have never looked back to other performances of Elektra. In that performance, Jones portrayed the title role's madness, sexual depravation, love for Agamemnnon, and a certain sexual attraction to Orestes. It is a desert island disc. Of course, you would be poorer if you have not heard Gwyneth Jones as the Dyer's Wife in Die Frau Ohne Schatten. A recorded performance with Dohnanyi conducting at the Paris Opera during 1980 shows Jones giving a performance of a lifetime, conquering the difficult music of the Dyer's Wife with all the drama, sexual frustration, wit, shrewdness, and intelligence that the character needs. I could go on and on about this magnificent artist, as she has moved me and opened me to these great roles more than any other singer of the Wagnerian and Straussian fach. You can sample her singing the difficult Senta's Ballad on this disc, making her voice go forte when needed, and softening it to a most delicate pianissimo where such an effect would bring the drama to life. I think in the aspect of dynamics, she is unrivaled. She owns one of the most brilliant and malleable dramatic soprano voices, and has one of the most beautiful middle registers for a hoch dramatische soprano--in fact, probably the only one in this century besides Nilsson, Grob-Prandl, Traubel, Flagstad, and Varnay. Also, her flexibility with different repertoire is showcased in this disc, with Gwyneth Jones singing both of Verdi's great Leonoras with the needed dynamics (and drama!!!). She is the only one, besides Maria Callas, who can bring justice to Pace Pace, and sing the Trovatore aria so plaintively. Gwyneth, in my opinion, is the greatest dramatic soprano.

She is a commanding person onstage, yet offstage, she is one of the most generous artists who offer more than what one expects of people of that profession. Brava Gwyneth!

An Amazing and Versitile Performer.......2005-10-05

GWYNETH JONES: OPERATIC RECITAL is another treasure from the Decca archives. This collection, originally released in 1966, contains six arias that demonstrate Dame Gwyneth Jones' extraordinary vocal gifts. In some ways it could be called the Leonora collection. Three of the arias are well known Leonore/Leonora pieces from FIDELIO, IL TROVATORE and LA FORZA DEL DESTINO respectively. She is equally at home in the Beethoven role as she is as the Verdi heroines. We see her wide range as she beautifully performs "Dei tuoi figla la madre tu vedi" from Cherubini's MEDEA and with equal skill sings Senta's "Johohoe! Traft ihr das Schiff in Meere" from DER FLIEGENDE HOLLANDER (my personal favorite track on the recording). She also includes a Beethoven concert aria which again she masters.

Gwyneth Jones was long admired for her ability to handle a wide variety of roles. She mastered the great Wagnerian soprano roles and performed the great Verdi heroine roles with heart. She had great success at the great stages of the world including the Metropolitan Opera in New York and London's Covent Garden, and was one of the greats of her generation, but sometimes she seems a bit forgotten. When a clip about her career or a sample recording resurfaces, people think "Oh yes, Gwyneth Jones, I loved her voice." This recording can be a reminder of a great soprano who mastered a wide range of roles and has a voice that is always a pleasure to hear.

One note that does not affect the recording itself. Decca has tried to recapture the nostalgia of the period by using the same jacket cover and liner notes. Gwyneth Jones does look like the quintessential opera star of the 1960's on the front, but the liner notes, which are printed on the inside cover, are small, poorly printed, and almost illegible even with a magnifier. Perhaps an insert would help in this regard, but for a top quality performance at mid-price, I probably shouldn't complain.

The first studio sampling of a burgeoning stage career.......2005-04-22

And what a thrilling sampling it is of a new dramatic soprano who was building a career for herself at the WNO and at Covent Garden with Lady Macbeth, Leonore in Fidelio, Senta in Hollander, Sieglinde in Walkure and Octavian in Rosenkavalier, until achieving world recognition when she replaced an ailing Leontyne Price in the more lyric role of Leonora in Trovatore at Covent Garden in 1964. Her success that night spawned a parallel career that would encompass the Verdi heroines of Aida, Elisabetta, Desdemona, and the Ballo Amelia, which was already a part of her repertory. Decca honored both sides of her career with an LP release of this particular collection of German and Italian arias in 1966, followed by a Verdi recital the following year. A CD collection that included selections from both recitals was released on the Belart label in England a few years ago. In the spirit of its new Classic Recitals line that includes original covers and no fillers, Decca released this CD containing only the material on the first LP.

In this recital one hears all of the positive features of Dame Gwyneth's performing that the wags who complain about wobble, shrillness, or scooping rarely seem to acknowledge: solid, even production with an uncannily powerful mask resonance and a force of projection that could penetrate any orchestral din; a distinctive timbre and style of tonal rounding that cannot be mistaken for any other singer; a commitment and sensitivity to the text that makes her reading of even the most overworked warhorse seem new; exemplary phrasing and vocal agility, and the ability to swell or float notes as needed.

So, to the program: Dame Gwyneth was the finest Fidelio Leonore of the 60s and 70s. Most people remember the Vienna performances under Bernstein, but in the record world it was Karl Bohm who brought her to perfection in the role, in a 1970 filmed version of a recording that was considerably better than his own Deutsche Grammophon recording of 1969. Compared with the film, this earlier Decca recording of Beethoven's first-act showpiece "Abscheulicher" falls slightly short. How? Mainly in pacing and in the dramatic impact of the final high B of "Gattinliebe." But, had this film not existed, one would still be hard pressed to find a recording of Abscheulicher to match this Decca one. The sheer vocal beauty of the opening lines of the central section "Komm, Hoffnung, lass den letzten Stern," has seldom been matched. Likewise, the range of emotion from rage to supplication to resolve is fully explored with remarkably varied production, volume, and phrasing. It is a real tour-de-force.

The vocal cruelties of Cherubini's Medea have made it a role less frequently performed, but Dame Gwyneth dispatched the aria "Dei tuoi figli" so confidently and beautifully in this recording that Decca contracted her to sing the entire role in a complete recording 2 years later. Yes, she is even superior to both Callas and Farrell, who attempted with some success to conquer the role. But no one matches Gwyneth's pathos and power in this aria, especially on the repeated accusation "Crudel," which comes back musically as "Pieta" at its conclusion. The monstrous Medea in Gwyneth's throat evokes and deserves our (and Jason's) pity.

Now, many may say that Dame Gwyneth was not the best Senta on the stage, but the 1975 BBC television production of The Flying Dutchman in English was my first operatic experience, a seminal one that I still remember on a visceral level. Gwyneth was the troubled daughter and Norman Bailey was the mysterious, tortured captain. Therefore, I only hear her voice in the role. Nonetheless, this earlier Decca recording of Senta's ballad is quite simply the best ever recorded. Not a single soprano has been able to combine volume, power, bel canto and such urgency to this strophic nightmare. Some lyric sopranos can master the high phrases and tessitura of the choruses, but they cannot produce the surging waves of sound in the verses that Gwyneth does. This Decca recording of the ballad far outshines her DG live recording from Bayreuth 5 years later.

The second Beethoven offering on this disc, the concert aria "Ah, perfido," is so similar to "Abscheulicher" that it almost seems like a duplicate track. Suffice it to say that all the good things Gwyneth does in Fidelio carry over here. As much as I am embarrassed to say, this is also the finest recording of this piece ever released.

When one listens to her "D'amor sull'ali rosee" from Verdi's Trovatore, it's easy to see why Gwyneth became an international sensation. Full of finesse and emotion, she spins the phrases and floats some thrilling pianissimi, and even has a REAL TRILL! Few people realize how stunningly gorgeous she could sound when singing quietly. However, in this aria I detect in her singing a slight deficiency in what I would call the Verdi style, i.e. bel canto timed and/or produced in such a way as to make his vocal line seem difficult but easy at the same time, lingering here on that appogiatura or a little scoop there to emphasize the beauty of the line, increasing the sense of playfulness and virtuosity. It's hard to describe, but once you've heard a top-notch lyric/spinto soprano sing this aria effortlessly, you know. That a dramatic soprano like Gwyneth could nevertheless pull off this type of lyric singing so marvelously is a wonder in itself, making this a valuable document, one that should be pulled out whenever some hack starts debasing her talent.

Verdi's "Pace, pace mio Dio" is one of those encores that exists for that final note on "Maledizione!" and Gwyneth, being the dramatic singer that she is, delivers the final note with power, menace, and loveliness. Her narrative pathos in the preparatory stanzas of this curse is not to be ignored, however. She used this aria as an encore or a gala showpiece for the entire span of her long career.

I own many entries in this Decca Classic Recitals series, but none that comes close to the overall artistry in this recital. Conductor Argeo Quadri and the Wiener Opernorchester are, for the most part, able partners, invisible or dominant as required. Someone please buy Jane Eaglen this CD, to show her that dramatic singing is more than 50% volume and 50% vapidity!!

HEARING HER WAS ONLY HALF THE STORY.......2005-04-08

Dame Gwyneth Jones was one of the few prima donnas who believed in sacrificing beautiful singing for dramatic truth. Even this very early recital (when this singer was in transition from mezzo to dramatic soprano) demonstrates this commitment to the drama behind the music, which can be both exciting and frustrating to those listeners who only "hear" the voice. Her instrument wasn't perfect. There was a very wide vibrato and shrillness and limitation at the top which increased with time. Yet, when I saw this singer on stage as Fidelio, there was no doubt about her strength of character. Still, this is an exciting CD.

Once again, the Decca folks were a little stingy with this reissue. They could have also included items from her Verdi aria recital as filler.

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Bach: Mass in B minor

Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000E6QPP
Release Date: 2004-01-27

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Recital 1

Manufacturer: Melodram
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002IQHSE
Release Date: 2004-07-27

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Recital

Manufacturer: Melodram
ProductGroup: Music
Binding: Audio CD

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ASIN: B000E8QV1A
Release Date: 2006-02-28

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Strauss, Mahler, Wolf Leider Recital

Manufacturer: Price-Less
ProductGroup: Music
Binding: Audio CD
ASIN: B000QCOB0M

Product Description

Strauss: Liebeshymnus, Verfuhrung, Winterliebe, Waldseligkeit. Mahler: Wenn mein Schatz Hochzeit macht, Ging huet morgen ubers Feld, Ich hab ein gluhend Messer, die szei blauen Augen. Wolf: Im Fruhling, Elfenlied, Lebe wohl, Schlafendes Jesuskind, Phanomen, die Sprode, Die Behehrte, Anakreons Grab, Blumengruss, Ephiiphanias, Bedeckt mich mit Blumen, Herr was tragt der Boden hier, In dem Schatten meiner Locken, Mogen alle bosen Zungen.

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Elisabeth Grümmer: Recital

Manufacturer: Melodram
ProductGroup: Music
Binding: Audio CD

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German | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B0002NY8XU
Release Date: 2004-08-31

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Simple Things

1. Sonata In E Major K. 380
2. Sonata In G Major K. 13
3. Allegro Moderato
4. Andante Cantabile
5. Allegretto
6. PrÉAmbule
7. Pierrot
8. Arlequin
9. Valse Noble
10. Eusebius
11. Florestan
12. Coquette
13. RÉPlique
14. Papillons
15. A.S.C.H. - S.C.H.A. (Lettres Dansantes)
16. Chiarina
17. Chopin
18. Estrella
19. Reconnaissance
20. Pantalon Et Colombine