Suite in G major op. Suites without opus numbers Suite in C major. Suite in D major. Suite in A minor.
Suite in B major, Suite in B minor, ? Variation works Variations on An Alexis. Variations on a Scottish folk tune. Variations on God save the Queen. Variations on Gubben Noak. Variations on Jord och himmel. Variations on Kleine Nordische Lieder ohne Worte nr Fantasy in F major, Capriccio, Konzert-Ouverture , March in F major op. Impromptu D major op. Bilder ur barnalifvet op. Two piano pieces in scherzo form op.
Tarantella in A minor op. Kobolde und Nixen op. Introduktion und Scherzo op. Ballade in F minor op.
Scherzo in D major op. Etude in A-flat major op. Scherzo in B major op. Other piano music without opus numbers Allegro in D minor, Blumenlieder und andere Lieder, 20 pieces in two booklets, datings from and Kleine Ballade in A major.
Preludium in C minor, Quadrille de Lanciers, Salongspolka in A-flat major, Scherzo in E-flat major, Valse de salon in F-sharp major, In additon a several hundred minor pieces in manuscript. Piano four hands Works with opus numbers Fantasy in A minor op. Novellette in f major op. Polonaise in A major Scherzo D major. Two small suites on the chorales no. The scale and some chorals for organ or piano op. Other works Wedding march. Funeral march in C minor. Several other preludiums and minor pieces. Kvarnvisa lyrics from En yngre son, lyricist unknown , 9. Aftonsaga Emil von Qvanten , An der Quelle sass der Knabe F.
Andersen , , 6. Topelius , , 9. Flickan i skogen E. Bienenlied lyrics from a Germans folksong , also for 3 and 4 female voices and piano.
Download and Print Five Pieces, Op. 24 Heft I, No.2 Sheet Music by Christian Sinding. Five Pieces, Op. 24 Heft I, No.2 Sheet Music is Scored for Piano Solo. Christian Sinding Average rating · 2 ratings · 0 reviews · shelved 8 times Characteristic Pieces for Piano, Op. 34, No. Five Pieces, Op. 24 Heft I, No.2 by.
Cavatina lyrics from En yngre son, lyricist unknown. Die Prinzessin Ilse H. Herre Zebaoth text ur Jesaja , Im Winter title unclear, lyricist unknown. Reinick Hymn , Ruhe am See J.
Wenn man die Hand lyricist unknown , also has the lyrics Und weil ich denn von dannen muss, which is the first line from the poem Scheidende Liebe by W. Vid blomstrande stranden lyricist unknown. Vor des Liebchens kleinen Fenster lyricist unknown.
Dala songs, 4 in number, arranged for piano. Erinnerung an Norwegen, 12 in number, arranged for piano. Folksong and folk dance, 60 in number, arranged for piano with lyrics.
Norske danse og sange, 10 in number, arranged for small orchestra or ensemble. Two folksongs from Gotland, arranged for piano. Theoretical studies Eksempler til Kursus i Kontrapunkt. Studier i dubbla kontrapunkter. This is not a complete list of works.
The following works are those that have been inventoried so far. Tuesday began with a brief Schubert piece, the D. A youthful single movement, this hardly stretched these performers although Selby was kept occupied with dollops of doubling and plenty of underpinning passage-work. A similar reaction greeted the Liszt rarity; for all its inbuilt depression and mournful meanderings, the work is framed in familiar 19th century terms.
This Brophy score from puzzled the patrons — and me, simply because it was out of context although you can see that it was programmed in comfortable surroundings to give it an airing, rather than to draw parallels with adolescent Schubert and venerable Liszt. Well, the diet in is light on rarely-heard names but long on interesting products from the familiar ranks. May is all arrangements: And the end of the year offers the only break in the piano trio mould with Turina, Mozart and Dvorak piano quartets.
What you will get across every night is excellent chamber music-making with a lot of familiar faces rotating at the string desks.
Not an instrument you come across often, the mandolin. No performance of Don Giovanni goes through without you hearing its gentle underpinning to a baritone booming out Deh vieni alla finestra ; sometimes a director has the sense to put the player onstage.
A set of mandolin-composing names are put forward in the program booklet for this particular concert. Thanks to the modern craze for Mahler, you get to hear the instrument in the Symphony No. Webern, the hero-figure of the s and s, uses mandolin in his Op.
The instrument also gets a guernsey — actually, a bikini strip — during the second movement in the Cantata No. Later, he gave the instrument a small part in No. Paul Dyer and his reduced orchestra played two works in their own right. Avital made fine work of the RV in A minor with a mobility of dynamic during the four solo passages in the opening Allegro and about the same number in the finale. In the Georgian Folk Themes , Avital got to use the tremolo technique that most of us associate with his instrument; the Vivaldi works and the Paisiello tended to ask in the main for single notes only.
Avital introduced the Paisiello work with a short address, drawing contrasts between Venetian and Neapolitan schools, some of which rang fairly true. I could be getting precious ha! If the cover reads The Nocturnes , then I reckon you should get the Nocturnes — all of them. Of the 21 19 regular, 2 extras in my edition, the pianist presents only For reasons best known to herself and the Move production team, she omits Nos. Not that the recording is under-length physically, coming in at about 69 minutes. Tsou begins with the posthumous C sharp minor; for some reason, this has been a favourite with film-makers in recent times.
She is very free-and-easy with the application of rubato , particularly in the con forza bars 13 and its repetition at bar The reading has a clear sensitivity, even if its Lento could have been applied more literally. Moving into the canon proper with the Op. Nothing exceptionable here; the right hand work offers an even line with few surprises, although the second-last bar was rushed.
For the famous E flat Major No. One of the longer nocturnes, No.
The cantabile direction heading Op. The remaining parts of the opus are omitted and sadly missed, especially the perfectly shaped Larghetto in F sharp. A convincing version of the first Op. Tsou might have taken the last three-bar Adagio more slowly, although the pivotal bass notes resound satisfyingly. For the following Op. Chopin has gifted this nocturne with a rolling, infectious melody; why interrupt its progress? The decorative work in bars 14 and 22 is laboured; notes failed to register during the central pages, notably in the top left-hand chords, but the whole segment was taken too quickly for comfort.
I suppose you can treat these with a certain amount of liberty; Tsou does — and that would have been fine if the piece had stayed in time, but when the double octaves get under way, the work slows down and the bravura is dissipated in obvious effort. As in the previous work, the inner workings of the doppio movimento return are cloudy, hard to single out in their context.
Sadly, the reversion at bar 73 does not come creeping slowly, the spectre at the feast after a contrasting interlude, but is treated matter-of-factly. At the end, Tsou does not reserve her forte for the last three chords but plays all four last bars at the same dynamic level, which is not the most inspired choice in handling this strong-minded, poignant conclusion.
But you could point to other occasions where the listener is left-footed by odd decisions; by this stage, the effects are rarely challenging or informative. Yet again, passages are blurred by sustained pedal work across half-bar lengths. Last track of all is the posthumous Op. Which is eventually the chief problem with these nocturnes. The performances are able, occasionally persuasive, but they lack compelling passion. Possibly, if you were a newcomer to chamber music. Ligeti springs a continual series of surprises, none of them electrifying these days but a clever canvas of contrasts prefiguring the greater, larger scale works to come.
To finish, the ASQ headed to Ravel, and justifiably so. Here was an eloquent interpretation which showed how the allocation of weight means everything in this light-filled masterwork. All members worked towards a well-rounded version of each movement, vitally percussive in the pizzicato-heavy Assez vif and then unfolding the muted languor of the Tres lent with its Proustian hothouse suggestions. Particularly in this endearing work, the quartet members showed a brand of synchronous individuality that marks them off from other ensembles.
This is a double CD which contains a plethora of pieces that, over my time listening to recitals, many pianists have used as encores. Brawn travels across time indeed — starting with Scarlatti and Bach, then finishing up with Prokofiev and Gershwin. He follows a scrupulous chronology, ensuring that Chopin born comes before Liszt , and keeping Scriabin ahead of Rachmaninoff, the mystic born a year earlier than the great pianist-expatriate.
As grounding comparisons, he accompanies the Bach re-examination with four other preludes from the same Book 1, and fits the re-cycled Rachmaninov inside a context of four disparate preludes. A pity that the Liszt remains alone here, especially when Brawn showed his talent with this composer by way of an expert Mephisto Waltz No. The time difference is not too important in the Bach interpretations: And the Consolation moves from 5: Etudes primaires [24 etudes] , op.
Le rhythme 25 Etudes sans octaves , op. Le style 25 Etudes de genre , op. WorldCat 30 Melodische Etuden, op. Studies for the Development of Technique and Expression, for intermediate degree [33 studies], op. WorldCat Characteristic Concert Studies, op. WorldCat 2 Instructive Sonatinas, op. Neupert 12 Etudes, op. WorldCat - Book 1: Second preliminary grade - Book 3: Lower middle grade - Book 4: Middle grade - Book 5: Elementary Instruction Book for Juvenile Pupils, op. Vorschule im Klavierspiel Method in Piano Playing , op.
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