In 1834, Frédéric Chopin wrote an Andante Spianato in G Major, for piano solo, which he added to the start of the Grande Polonaise Brillante in E-flat Major and joined the two parts with a fanfare-like sequence.
The Gymnopédie No. 1 is part of Gymnopédies, three piano compositions written by French composer and pianist Erik Satie and published in Paris starting in 1888.
One of Frédéric Chopin most famous masterpiece, the Prelude No 15 in D-Flat Major, nicknamed “Raindrop”, strikes one at first as an oasis of peace and calm. However, the transition from the bright key of D-Flat Major to the tenebrous C sharp minor brings dark, gloomy, disturbing sonorities.
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.
The Waltz No. 7 in C-Sharp Minor is the second work of Frédéric Chopin’s opus 64 and the companion to the Minute Waltz (Op. 64, No 1). It was composed in 1847 and have three themes with different speeds.
Dance of the Blessed Spirits is a melody from Orpheus and Eurydice, an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de’ Calzabigi.
Rachmaninoff’s Piano Concerto No. 3 in D Minor was written in Dresden and completed on September 23, 1909. The concerto was first performed on Sunday afternoon, November 28, 1909, by Sergei Rachmaninoff himself.
Dreams of Love is a set of three solo piano works published in 1850 by Franz Liszt. Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath.
Gretchen am Spinnrade (Gretchen at the Spinning Wheel), Op. 2, D 118, is a Lied composed by Franz Schubert using the text from Part One, scene 18 of Johann Wolfgang von Goethe’s Faust. Gretchen am Spinnrade was originally composed for the soprano voice.
The Mephisto Waltzes are four waltzes composed by Franz Liszt. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas nos. 3 and 4 were written for piano only.
