Danse Macabre, Op. 40, is a tone poem for orchestra, written in 1874 by the French composer Camille Saint-Saëns. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based on an old French superstition.
Chopin’s Ballade No. 3 in A-flat major, Op. 47, dating from 1841, is dedicated to Pauline de Noailles. The inspiration for this Ballade by Frédéric Chopin is usually claimed to be Adam Mickiewicz’s poem Undine, also known as Świtezianka.
Grand galop chromatique in E-flat major, S.219 is a bravura piece by Franz Liszt, composed in 1838. This gallop was one of Liszt’s favorite encores which he considered a “rouser.” …
Vocalise is a song by Sergei Rachmaninoff, composed and published in 1915 as the last of his 14 Songs or 14 Romances, Op. 34. Written for high voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel of the singer’s choosing.
The Waltz No 2 in A-Flat Major is part of Chopin’s Waltzes Op. 34, composed from 1834 until 1838 and published in 1838. These three waltzes were published as Grandes valses brillantes, but this title is usually reserved for the Waltz in E-flat major, Op. 18.
Even though its key signature is empty, the Gnossienne No 4 is in D Minor. The Gnossiennes are several piano compositions written by the French composer Erik Satie in the late 19th century.
The Waltz No 7 in C-sharp minor is the second work of Frédéric Chopin’s opus 64 and the companion to the famous Minute Waltz (Op. 64, No. 1). It was composed in 1847 and have three themes with different speeds.
The Piano Concerto in A minor, Op. 16, composed by Edvard Grieg in 1868, was the only concerto Grieg completed. It is one of his most popular works and is among the most popular of all piano concerti.
Feux Follets (Wills o’ the Wisp) is the fifth étude of the set of twelve Transcendental Études by Franz Liszt. As with the other works in the Études but one, Feux Follets went through three versions.
The Piano Quintet by Robert Schumann was composed in 1842 and received its first public performance the following year. It is considered one of his finest compositions and a major work of nineteenth-century chamber music.
