Rachmaninoff’s Piano Concerto No. 2 in C Minor, Op. 18, was composed between the autumn of 1900 and April 1901. The second and third movements were first performed with Sergei Rachmaninoff as soloist on 2 December 1900.
Clair de Lune (Moonlight) in D-Flat Major is the third and most famous movement from Claude Debussy’s Suite bergamasque. Its name comes from Verlaine’s poem “Clair de lune”, which means “moonlight” in French.
Indicated Presto, Moment Musical No. 4 in E Minor is the fastest of the six moments musicaux (French for “Six Musical Moments”), Op. 16, a set of solo piano pieces composed by the Russian composer Sergei Rachmaninoff between October and December, 1896.
Franz Schubert composed a number of works known as Ständchen (serenade). Franz Liszt’s transcription for piano solo is the fourth lied from Schwanengesang, a collection of songs written by Schubert at the end of his life and published posthumously.
Baba Yaga, The Hut on Hen’s Legs, is the ninth piece of Pictures of an Exhibition, a suite of ten pieces (plus a recurring, varied Promenade) composed for piano by Russian composer Modest Mussorgsky.
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.
Franz Liszt wrote drafts for his Concerto for Piano No. 2 in A Major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly.
Beethoven’s Piano Concerto No 1 was written in 1795, then revised in 1800. The first performance took place on 18 December 1795 in Vienna with Ludwig van Beethoven himself as soloist.
Libertango is a composition by tango composer Astor Piazzolla, recorded and published in 1974 in Milan. The title is a portmanteau merging “Libertad” (Spanish for liberty) and “Tango”, symbolizing Piazzolla’s break from Classical Tango to Tango Nuevo.
La Leggierezza (meaning “lightness”) is the second from Franz Liszt’s Three Concert Etudes . It is a monothematic piece in F minor with a very simple melodic line for each hand under an unusual Quasi allegretto tempo marking, usually ignored in favour of something slightly more frenetic.