The Music of Dmitri Shostakovich: Prelude & Scherzo/Con Piano/Orchestra/Tpt

Editorial Reviews
Album Description
Dmitri Shostakovich (1906-1975) was one of the most prominent and prolific composers of the 20th-century Russian music. Unlike his older contemporaries Prokofiev and Stravinsky, Shostakovich is alone in that his entire compositional life was spent within the confines of Soviet aesthetics. Although often at odds with the will of the state, Shostakovich maintained his compositional integrity, at times delaying the release of works until the political atmosphere was more favorable. Twice in his lifetime, Shostakovich was subjected to intense political scrutiny: in 1936 when his internationally successful opera Lady Macbeth of the Mtsensk District was criticized suddenly in the Pravda, and in 1948, when Stalin's cultural minister issued a decree denouncing a number of composers, including Shostakovich and Prokofiev. Stalin's death in 1953 instigated a gradual relaxation of artistic constraints. However, despite his early experiments in modernism, Shostakovich's tendencies remained more conservative, and he often criticized the Western avant-garde. An early work, Shostakovich's Prelude and Scherzo for Octet, Op. 11 (1924-5) was probably composed while he was still a student at the Leningrad Conservatory from which he graduated in 1925. His First Symphony, Op. 10, written as a graduation assignment, met with great critical acclaim at its premiere in Leningrad in 1926. Of the previous nine opus numbers, only Op. 5 has been published. The octet, scored for double string quartet, is basically unsentimental, yet influenced by the "revolutionary romanticism" of the 1920s in Russia. The slow, brooding Prelude followed by an exuberant, exhilarating Scherzo becomes almost a trademark of his later works. Shostakovich's Concerto No.1 in C minor for Piano, Trumpet and Strings, Op. 35 (1933) premiered in Leningrad in 1933 with the composer at the piano and is full of prankish humor, possibly as a challenge to the traditional Russian concerto. It begins immediately with a series of rhythmic and harmonic clashes reminiscent of Stravinsky. The solo trumpet part, while playing a more accompanimental role, consists of commentaries influenced by military calls and by jazz. Often Shostakovich quotes other pieces, including his own works, mixing genres in a totally modern way while still adhering to the confines of "socialist realism" expected during this time. In the second movement Shostakovich presents a parody of a theme from his ballet The Golden Age (1935), sometimes in a jazzed-up version. He includes excerpts from his opera Christopher Columbus (1929) and Beethoven's Rondo a capriccio in the final movement. With the composer's permission, the violist and conductor Rudolf Barshay transcribed Shostakovich's String Quartet No. 8 in C minor, Op. 110 (1960) for chamber orchestra, which, in accordance with Shostakovich's wishes, was given the title of "Chamber Symphony." Subtitled immediately after a visit to Dresden, Germany. He was overwhelmed with emotion after learning of the complete devastation of the city, a result of Allied bombing raids in February 1945, in which 140,000 people died.

Tracks:

Preludes And Fugues Op. 87: Prelude And Fugue No. 1 In C Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 2 In A Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 3 In G Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 4 In E Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 5 In D Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 6 In B Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 7 In A Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 8 In F Sharp Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 9 In E Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 10 In C Sharp Minor
Preludes And Fugues Op. 87: Prelude And Fugue No. 11 In B Major
Preludes And Fugues Op. 87: Prelude And Fugue No. 12 In G Sharp Minor

Tracks:

Preludes And Fugues Op. 87: Prelude And Fugue No.13 In F Sharp Major
Preludes And Fugues Op. 87: Prelude And Fugue No.14 In E Flat Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.15 In D Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.16 In B Flat Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.17 In A Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.18 In F Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.19 In E Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.20 In C Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.21 In B Flat Major
Preludes And Fugues Op. 87: Prelude And Fugue No.22 In G Minor
Preludes And Fugues Op. 87: Prelude And Fugue No.23 In F Major
Preludes And Fugues Op. 87: Prelude And Fugue No.24 In D Minor

Customer Reviews:

It doesn't get any better than this........2006-07-14

I am not a music "expert" so you may take this review with a grain of salt. I know what I like and this is amazing. Absolutely beautiful. In my humble opinion, it is warmer, more nuanced, and less rigid than the Nikolaieva or Ashkenazy versions. This would be on my "desert island" Top 5 list, no question about it.

IMPROVISED CLASSICAL MUSIC.......2005-06-12

All the great classical composers were great improvisors. Because of the constraints of the academy, one wonders if most of todays players could even fake "Happy Birtrhday".

We are lucky to have someone like Keith Jarrett alive in our own time. Since he is capable of actually improvising profound music, he seems to bring a liveness and spontenaity to this Shostakovich masterpiece. The first recording I ever heard was by Ashkenazy and even then I felt that something was missing. Then I heard the Jarrett version and it came to life! I'm sure any criticism by classical purists is just jealousy...this is perhaps like hearing a great musician/composer, such as Liszt, playing Chopin...or perhaps like Chopin playing Bach!

There are so many college trained "button-pusher" pianists around today that it is refreshing to hear the emotional vividness and luminous technique displayed by Jarrett in this recording. I assumed that these pieces would be dark and posess and dated, pre WORLD WAR II quality, but like the Bach pieces that inspired them, they convey all sorts of emotions that are beautifully realized by Keith Jarrett.

He makes the other versions seem like journeyman efforts that were played by pianists who had to seek out a teacher to told them "How" they should be performed.

A great combination..........2005-05-16

- Warm spring afternoon
- Shostokovich Preludes and Fugues
- Keith Jarrett

Jarrett's peculiar bright aspect works exceptionally well with the more lyrical, optimistic pieces, (most of them, I think). For pieces having that Shostakovich life-is-out-of-kilter feel the color contrast is striking, but it's odd and unsettling in the bottomless-despair ones (few are in this category). I think Shostakovich would be pleasantly surprised by the way these sound. On the other hand, Jarrett does miss some of the curled-up dimensions in these multidimesional gems. An interesting, refreshing, virtuoso reading, but by no means definitive as some corners are left undusted. Too much reverb in the recording space for my taste.

My pick from Jarrett/Ashkenazy/Nikolayeva.......2005-01-16

I own recordings of this work by Jarrett, Ashkenazy and Nikolayeva (on Hyperion). Ultimately it is Jarrett's version that I find myself listening to most often. My main gripe with Nikolayeva is that she can be excessively slow. Ashkenazy -- though technically strong as one would expect -- has a tendency to hammer out some of the fugues in rigid staccato that suppresses the natural lyricism of the music. The flip side as argued by another reviewer is that Jarrett is sometimes "mushy", but that seems a little harsh to me. Unless you have a very particular opinion on how these pieces must sound (in which case you can listen to them yourself) this recording makes a fine choice.

far and away the best, and don't give me no lip!.......2004-11-25

Keith Jarrett himself must have expected wildly polarized reviews on his take of Shostakovich's preludes and fugues, and it's no wonder, as he is more popularly known as a modern jazz master.

As I have had access to a public radio station music library, I decided to spend a weekend comparing and contrasting the different recording of this Opus 87, with score in-hand, by Jarrett, Nikolayevna, and Ashkenazy. I rate Jarrett first, second place going to Nikolayevna, and Ashkenazy bringing up a rather indifferent rear.

Jarrett's interpretation seems to be most often panned on grounds that he "doesn't understand the music", which is sheer hogwash. Add this to the fact that most critics fail to state what are the prerequisites for understanding this music, and I suggest it's a lot more than understanding Shostakovich's "pain"; a rather over-romantic view of a composer who could and did write extremely emotional music, but also music with humor and grace. There's a lot more to Shostakovich than just "pain". Jarrett has obviously studied the pieces well, and plays each prelude and fugue with flawless technique and even daring interpretation that is notably original, the most obvious case being the C-major fugue being taken at what sounds like a *very* slow pace. But having access to the score, he's taking it at the specified tempo: 92-to-the-quarter, interpreting the "alla breve" by playing very legato. So why do the other recordings have it so fast?

Jarrett's A-major fugue shines like the sun; his A flat-major fugue becomes a giddy, but slyly understated dance. (I should add here that in the A-flat prelude Ashkenazy makes a rather shocking note discrepancy in the main theme that either passed a producer's ear or was mis-read in the printed edition.) The more somber pieces are played with respect and deep concentration.

Add to this ECM's top-shelf engineering that provides a realistic, deep piano sound, and you've got a five-star set in your hands.

The pieces were written for Nikolayevna, but her autumn-years recording seems a bit one-dimensional to my ears at times, and the dynamics are a bit narrow as well, although she obviously has played these pieces for a very long time and seems to have absorbed them to the point where her interpretations seem more introverted, if that is your taste. The piano sound is broad, though it has a bit more hammer sound than Jarrett's.

For Ashkenazy, I have nothing exceptional to report. The Decca sound is dry, his rubato doesn't work for me and almost sounds as if he is unsure of himself in places, and overall it doesn't seem to add any air of authority or authenticity. Add to this Decca's assertion that since Askenazy is Russian, his recording is the final word on it, which is pretty trite.

Jarrett gives a modern, up-to-date performance that I think will stand the test of time, while the Askenazy will ultimately be re-packaged as a budget set.

Go with Jarrett; the man who dares to play classical music that is absolute, stripped bare of tuxedo snobbery. He gives his all for this one, and it shows.

The Essential Hyperion (Label Highlight Compilation)

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A MUST BUY!!!
Great music, Excellent Value!
This truly is essential!

The Essential Hyperion (Label Highlight Compilation)
Henry Purcell , Charles Villiers Stanford , Sheppard, John , Haydn, Joseph , Satie, Erik , Schumann, Robert , and Shostakovich, Dmitri
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Essential Hyperion, Vol. 2
Glass Harmonica
Mendelssohn: Piano Trios Op. 49 & Op. 66
Essential Purcell

ASIN: B000002ZDX
Release Date: 1995-02-13

Tracks:

Concerto For Two Trumpets, 1687: Allegro
Abdelazer: Rondeau
Who Can From Joy Refrain?: A Prince Of Glorious Race
The Morning: The Glitt'ring Sun
The Ephesian Matron, Or The Widow's Tears: Vaudeville
Magnificat In G
Libera Nos
Cantigas de amigo: My Love's Coming Home
My Lady, You Do Great Wrong
Locus iste
Symphony No 14 In A: Tempo di Minuetto
Symphony No 94 In G (The 'Surprise' Symphony): Finale
Gymnopedie No. 1: Gymnopedie No. 1 (Orchestrated By Debussy)
Liederkreis op. 39: Waldesgesprach
Album Leaf In Waltz Form
Prelude And Fugue In A, Op. 87, No. 7
Phil The Fluter's Ball
Piano Concerto In C Sharp Minor, Op. 30: Allegro
O salutaris hostia
Da quel sembiante, D. 688, No. 3
Sonata In G Minor, Op. 5, No. 5: Vivace
Clarinet Quartet No 1 In E Flat, Op. 2: Rondo
String Sextet In A, Op. 48: Furiant
Sherzo In A minor, Op. 81, No. 2
Come You, Mary, Op. 21, No. 2
Chorale Prelude 'Nun freut euch, lieben Christen g' mein'
Deus in adiutorium
Sortie In E Flat

Customer Reviews:

A MUST BUY!!!.......2001-03-03

If I had to choose one CD to spend a month locked in isolation with, this would be the one. Its varied but it flows well together. It's restive and soothing. The quality is beyond excellent!!! At the price, anyone is a fool not to own it, and give it lavishly as gifts. Its gorgeous, lush and fabulous! Everyone that hears it in our home, falls in love with it!

Great music, Excellent Value!.......2000-07-26

Rarely can one buy so much good music for so little. This compilation features almost 80 minutes of high quality music.

This truly is essential!.......1999-10-23

What a brilliant idea from one of our leading record companies! On this disc, they have assembled a programme of highlights from their vast collection of choral, vocal, orchestral, and solo instrumental music that is very satisfying. As with most CDs of this sort, it is a case of some tracks not appealing as much as others- I for instance am a lover of choral music so the gorgeous renditions of Stanford's "Magnificat" by St. Paul's Cathedral Choir or John Sheppard's divine motet "Libera Nos" by the Sixteen are obvious preferences of mine. However, whether you seek dyed-in-the-wool orchestral classics as Haydn's "Surprise" Symphony, less familiar works performed by period artists (such as "'E irei Madr'a Vigo" by ancient Spanish composer Martin Codax), or snippets of breathtaking instrumental solos (such as the rousing performance of Lefebure-Wely's "Sortie in E flat" which is sadly only an excerpt), this disc is bound to have something on it for you. And all of it is finely recorded.

Sviatoslav Richter in the 1950s, Volume 4

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Sviatoslav Richter in the 1950s, Volume 4
Sviatoslav Richter , Sergei Prokofiev , Dmitri Shostakovich , and Alexander Scriabin
Manufacturer: Parnassus
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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Sviatoslav Richter in the 1950's, Vol. 5
Sviatoslav Richter in the 1950s, Vol. 3
Sviatislav Richter in the 1950s, Vol. 2
Sviatislav Richter in the 1950s, Vol. 1
The Sofia Recital 1958

ASIN: B00005YGJ0
Release Date: 2002-01-29

Tracks:

Prokofiev: Sonata No. 9 in C, Op. 103: Allegretto
Prokofiev: Sonata No. 9 in C, Op. 103: Allegro strepitoso
Prokofiev: Sonata No. 9 in C, Op. 103: Andante tranquillo
Prokofiev: Sonata No. 9 in C, Op. 103: Allegro con brio, ma non troppo
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 4 in E Minor
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 4 in E Minor
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 3 in G
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 3 in G
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 6 in B Minor
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 6 in B Minor
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 7 in A
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 7 in A
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 2 in A Minor
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 2 in A Minor
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 18 in F Minor
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 18 in F Minor
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 23 in F
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 23 in F
Shostakovich: Preludes and Fugues, Op. 87: Prelude No. 15 in D Flat
Shostakovich: Preludes and Fugues, Op. 87: Fugue No. 15 in D Flat
Prokofiev: Gavotte from "Cinderella," Op. 95
Scriabin: Vers la flemme, Op. 72
Scriabin: Poeme, Op. 32 No. 1

Tracks:

Beethoven: Piano Concerto No. 3 in C Minor, Op. 37: Allegro con brio
Beethoven: Piano Concerto No. 3 in C Minor, Op. 37: Largo
Beethoven: Piano Concerto No. 3 in C Minor, Op. 37: Rondo: Allegro
Bartok: 15 Hungarian Peasant Songs
Prokofiev: Sonata No. 6, Op. 82: Allegro moderato
Prokofiev: Sonata No. 6, Op. 82: Allegretto
Prokofiev: Sonata No. 6, Op. 82: Tempo di valtzer lentissimo
Prokofiev: Sonata No. 6, Op. 82: Vivace

Amazon.com

Volume 4 of Parnassus's Sviatoslav Richter in the 1950s lives up to the standards set by its three predecessors. There are no additions to the Richter discography--such as Liszt's "Vallee d'Obermann" or Ravel's "Le Gibet"--which were highlights of the earlier volumes. It's just Richter at his best in performances--new even to aficionados of this pianist--that are often different from Richter at his best in performances familiar to us.

Take Beethoven's Piano Concerto No. 3 in a 1954 performance with the USSR State Symphony led by the great German conductor Hermann Abbendroth. Like his first studio recording in the early 1960s (an out-of-print Deutsche Grammophon disc in which Richter is partnered by another distinguished German, Kurt Sanderling), this is a classically shaped performance. But we also hear some of the ferocious dynamism captured on a Praga disc that Richter displayed in 1956 when he played the piece with the Brno State Philharmonic and conductor Bretislav Bakala.

Tracks:

Con in c, Op.35: I. Allegro Moderato - Allegro Vivace - Moderato - Dmitri Shostakovich/Ludovic Vaillant
Con in c, Op.35: II. Lento - Dmitri Shostakovich/Ludovic Vaillant
Con in c, Op.35: III. Moderato - Dmitri Shostakovich/Ludovic Vaillant
Con in c, Op.35: IV. Allegro Con Brio - Presto - Allegretto Poco Moderato - Allegro Con Brio - Dmitri Shostakovich/Ludovic Vaillant
Pno Con No.2 in F, Op.102: I. Allegro
Pno Con No.2 in F, Op.102: II. Andante
Pno Con No.2 in F, Op.102: III. Allegro
Three Fantastic Dances, Op.5: I. Allegretto in C
Three Fantastic Dances, Op.5: II. Andantino in g
Three Fantastic Dances, Op.5: III. Allegretto in C
Prlds And Fugues, Op.87: No.1 in C: Moderato
Prlds And Fugues, Op.87: No.4 in e: Andante - Adagio
Prlds And Fugues, Op.87: No.5 in D: Allegretto
Prlds And Fugues, Op.87: No.23 in F: Adagio - Moderato Con Moto
Prlds And Fugues, Op.87: No.24 in d: Andante - Moderato

Customer Reviews:

A Complete Master.......2005-01-27

Shostakovich can, of course, lay claim to being greatest 20th century composer, or certainly one of three or four. He was also, not surprisingly, a brilliant pianist. His performance of the Preludes and Fugues, one of his many masterworks, is a revelation. Shostakovich was transcendent.

A historic musical document!.......2004-07-05

This CD is a revelation. Shostakovich playing himself with all the athoritative power who he meant ; a great composer and believe or not a very gifted pianist.
In the Piano concert no. 1 Shostakovich plays with caucassian moods ; outrage and histamine . There's one serious performance that rivalizes with this one . Kapell -Ormandy-Philadelphia of 1945 .
The second concert is a true revelation. The second movement is not only filled with arresting lyricism but itself means a jump to the future. Think in the andante of the ninth concert for piano of Mozart or in the Adagio of the Ninth of Bruckner : There are cosmical raptures who goes far beyond a simple moment of divine inspiration.
Eugene Liszt made a great performance in the fifties too, but never wins with that.
If you're a serious collector of unforgettable issues ; thius recording is a must!

Don't Buy the Full-Price Title!.......2003-11-03

This is a terrific CD but don't buy the full-price version of this title. The exact same performances have been recently reissued at a mid-line price in EMI's Great Recordings of the Century series (see my review). Same great music at a much lower price! Don't make the same mistake I did!

The Fast and the Furious!.......2001-08-12

If you are looking for a recording of the first piano concerto, look no further - this one tops them all. While other interpretations may offer more subtle phrasing and nuance, the composer's own performance in pure energy. And, after all - that's what the piece is all about. The sound is amazing for a mono recording, and should not be a factor in the decision. The only other available recording of Shostakovich humself playing this piece (a recently deleted Revelation recording from about a decade earlier) suffers from scratchy, muffled sound. Others, including Andsnes on EMI, are excellent in their own right, but every other player I've heard tends to cop out with too much rubato in the fast, rollicking finale. Shostakovich blasts right through it, and what he sometimes lacks in precision, he makes up for in fiery commitment. Don't hesitate - this one was unavailable in the states for some time and, given the sad state of the recording industry, may not be around as long as it should.

Like a shaman's miraculous exorcism!.......2001-01-08

Dmitri Shostakovich was not only great 20th century's composer in Russia but also has hidden talent-pianist. When he entered the Leningrad Conservatory, he studied composition and piano. His classmates were Maria Yudina, Vladimir Sofronitsky and others. And he worked as a pianist in theater and cinema. So, Shostakovich's many early works were composed for piano solo. You can heard Shostakovich's Three fantastic Dances(1922) in this CD. And this CD contains his very important piano works-24 Preludes and Fugues(1950-51)' five excerpts. But this CD's very exciting works are two Piano Concertos. First concerto's orchestral accompaniments are only formal strings and added trumpet soloist. Shostakovich and trumpeter Ludovic Vaillant played very 'poignant' in this concerto. Especially in last fourth movement, Shostakovich played very fast tempi with little rubato and percussionistic touch. In last fanfaronade coda, you'll imagine roller coaster. Second concerto is shorter than first but its sneer and march-like surroundings much better than first-for example, first movement's two 'stupid' and childish fanfare themes. But in second movement, Shostakovich composed and played very lyrical and clarity tones like a Andre Gagnon's lyrical pieces. And third movement without pause, Shostakovich and orchestra played no trouble in some strange 7/8 beat's passages. These documents are all mono recordings. But it has very stabilized and clear sound because EMI's careful restoration. I think these recordings has very excellent level than other Shostakovich's late recordings as a pianist.

Composers Performing: Shostakovich, Vol. 1

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Composers Performing: Shostakovich, Vol. 1

Manufacturer: Doremi Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005YOX9
Release Date: 2001-11-13

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Film Music of Dmitri Shostakovich
Shostakovich , Sinaisky , and BBC Philharmonic
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00007B8PV
Release Date: 2003-01-21

Average customer rating:

Nicely done...

Romantic Favorites

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

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ASIN: B000002997
Release Date: 1994-05-31

Tracks:

Romeo And Juliet, Fantasy Overture After Shakespeare
Introduction To Act III Of La Traviata
Intermezzo From Manon Lescaut
Prelude To The Afternoon Of A Faun
Pavane For A Deceased Infanta
Adagio For Strings
Vocalise In F Major, Op. 34, No. 14

Product Description

Excellent condition, includes the original CD, case, and paperwork, First Class shipped, ask me for my CD List! :)

Customer Reviews:

Nicely done..........2005-04-21

Included here are 7 selections combined to make a most desirable
hour of listening pleasure. From Tchaikovsky to Barber, we get a well played and recorded program of works, usually found on discs featuring a single composer. The big work "Romeo and Juliet" comes off nicely, but the other shorter works also shine.
The "Volcalise" includes the soprano solo version as a bonus.
This is an excellent disc for those on a budget, those filling gaps in their collections, and for those begining to appreciate the classics. Virtually unknown conductors and obscure ExSoviet
orchestras are the performers, and for sure there are better performances of all this music. Hence my reservations on giving a 5th star. Basic notes on each selection included!

Dmitri Shostakovich: Piano Concerto No.1 / String Quartet No.8 / Preludes

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Dmitri Shostakovich: Piano Concerto No.1 / String Quartet No.8 / Preludes

Manufacturer: Oehms Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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ASIN: B000FIMICA
Release Date: 2006-08-29

Average customer rating:

Romantic Favorites

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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General | Symphonies | Classical | Styles | Music

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Tracks:

Serenade For String Orchestra In C Major, Op. 48: I. Pezzo in forma di Sonatina. Andante non troppo - Allegro moderato - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In C Major, Op. 48: II. Valse. Moderato. Tempo di valse - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In C Major, Op. 48: III. Elegia. Larghetto elegiaco - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In C Major, Op. 48: IV. Finale (Tema russo). Andante - Allegro con spirito - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In E Major, Op. 22: I. Moderato - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In E Major, Op. 22: II. Tempo di valse - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In E Major, Op. 22: III. Scherzo. Vivace - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In E Major, Op. 22: IV. Larghetto - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky
Serenade For String Orchestra In E Major, Op. 22: V. Finale. Allegro vivace - St. Petersbug Consevatory Chamber Orchestra : Tchaikovsky

Tracks:

Romeo And Juliet, Fantasy Overture After Shakespeare - Romantic Favorites
La Traviata: Introduction To Act III - Romantic Favorites
Manon Lescaut: Intermezzo - Romantic Favorites
Prelude To The Afternoon Of A Faun - Romantic Favorites
Pavane For A Deceased Infanta - Romantic Favorites
Adagio For Strings - Romantic Favorites
Vocalise In F Major, Op. 34, No. 14 - Romantic Favorites

Tracks:

Symphony No. 4 In F Minor, Op. 36: I. Andante sostenuto - Moderato con anima - Moderato assai, quasi andante - Allegro con anima - Romantic Favorites
Symphony No. 4 In F Minor, Op. 36: II. Andantino in modo di conzona - Romantic Favorites
Symphony No. 4 In F Minor, Op. 36: III. Scherzo. Pizzicato ostinato - Allegro - Romantic Favorites
Symphony No. 4 In F Minor, Op. 36: IV. Finale. Allegro con brio - Romantic Favorites
Romeo And Juliet, Fantasy Overture After Shakespeare - Romantic Favorites

Tracks:

Concerto for Piano and Orchestra No. 2 in C Minor, Op. 18: I. Moderato - Romantic Favorites
Concerto for Piano and Orchestra No. 2 in C Minor, Op. 18: II. Adagio sostenuto - Romantic Favorites
Concerto for Piano and Orchestra No. 2 in C Minor, Op. 18: III. Allegro scherzando - Romantic Favorites
Variations On A Theme By Corelli, Op. 42 - Romantic Favorites

Tracks: