The Barcarolle in F-sharp major, Op. 60 is a piece for solo piano by Frédéric Chopin, composed between autumn of 1845 and summer 1846, three years before his death.
The third Prelude, in G major, returns to volatility. It belongs to the category of ‘etudal’ preludes, characterised by a quick tempo, lightness and mobility. It develops a single textural idea.
Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. It was written in only four days in April 1838 and a revised version appeared in 1850. In 1839, soon after publishing it,
The Polka Italienne (Italian Polka) is an original composition for two pianos by Sergei Rachmaninov. It was composed in 1906 and published in his Suite No. 2.
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 Scherzo No. 3 Op. 39 in C-Sharp Minor by Frédéric Chopin, completed in 1839, was written in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain.
Chopin Prelude No 8, in F sharp minor, counters the calm simplicity of the seventh with a broad stream of sonority of peculiar beauty, diffused in rising and falling waves of airy figuration. Among its admirers was Witold Lutosławski, who called it a ‘wonder’.
Mozart’s Piano Concerto No 23 in A major (K. 488) was finished, according to Mozart’s own catalogue, on March 2, 1786, two months prior to the premiere of his opera, Le nozze di Figaro and some three weeks prior to the completion of his next piano concerto.
Chopin Prelude No 4 in E minor is one of the 24 preludes opus 28 for piano. By Chopin request, this piece was played at his own funeral, along with Mozart’s Requiem.
Chopin believed the melody to be his most beautiful one. Although this étude is sometimes identified by the names “Tristesse” (Sadness) or “Farewell (L’Adieu)”, neither is a name given by Chopin, but rather his critics.