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.
Franz Liszt composed his Piano Concerto No. 1 in E-Flat Major, S.124 over a 26-year period; the main themes date from 1830, while the final version is dated 1849.
Prelude and Fugue in A minor, is a piece of organ music written by Bach sometime around his years as court organist to the Duke of Saxe-Weimar (1708–1717). Because of the piece’s overall rhapsodic nature, many organists play this piece freely, and in a variety of tempi.
Rhapsodie espagnole (Spanish Rhapsody), is a composition for solo piano composed by Franz Liszt in 1858. The piece is very suggestive of traditional Spanish music, and was inspired by Liszt’s …
Franz Liszt composed his Piano Concerto No. 1 in E-Flat Major, S.124 over a 26-year period; the main themes date from 1830, while the final version is dated 1849.
La Campanella (Italian for “The little bell”) is the nickname given to the third of Franz Liszt’s six Grandes études de Paganini. This piece is a revision of an earlier version from 1838, the Études d’exécution transcendante d’après Paganini.
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 favor of something slightly more frenetic.
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.
Danse Macabre, Op. 40, is a tone poem for orchestra, written in 1874 by the French composer Camille Saint-Saëns. It is in the key of G minor. 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.
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.
