Rachmaninoff Complete Piano Music

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    Rachmaninoff Complete Piano Music (Sheet Music)

    Rachmaninoff – Prélude Op. 3 No. 2 (sheet music)

    Rachmaninoff – Morceaux de Salon Салонные Пьесы, Salonnyye Pyesy), Op. 10 No. 6 Romance in F minor (Романс, Romans) sheet music

    Sergei Rachmaninoff 1873-1943
    Complete Piano Music


    Rachmaninoff may have formed the idea of composing a complete sequence of preludes covering all twenty-four keys in the manner of Chopin in 1902, while working on the Chopin Variations, based on the C sharp minor prelude (Op.28/20).

    His previous preludes were either stand-alone pieces – the Prelude F major of 1891, revised as a duet for piano and cello (Op.2/1) – or had appeared in collections of unrelated works – the second of the Four Pieces or the famous Prelude in C sharp minor from the Morceaux de Fantasie (Op.3/2).

    By the summer of 1903, he had completed nine which together with the G minor prelude of 1901, whose expansively lyrical second theme has obvious affinities with the recently completed Second Piano Concerto, were published as a set of ten (Op.23) in 1904. Although these show Rachmaninoff at both his most brilliant and most tender, especially in the E flat major prelude completed on the same day his daughter was born (14th May 1903), he admitted that he had not enjoyed their composition, the need to earn money being his primary motivation.

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    The choice of a different key for each one points to an intention to compose a complete cycle (or at least indicating that he was leaving his options open to do so) and although there is no coherent key arrangement (e.g. Chopin’s circle of fifths or Bach’s rising semitone) a simple pattern is introduced by a major/minor alternation and some grouping by relative and parallel keys.

    It would be another seven years before Rachmaninoff was to complete the sequence, composing thirteen in the remaining keys in two short bursts of intense creativity between 23rd August and 10th September 1910 (the early C sharp minor piece making up the total).

    As in Op.23, major and minor keys alternate but here with a greater juxtaposition of parallel and relative keys, and by placing the D flat major prelude last, to mirror the enharmonic C sharp minor written almost ten year previously, a neat circularity is achieved.

    The D flat major prelude refers back to its predecessor in several ways, the opening bars containing an almost identical downward chord sequence, brought out more forcefully on its return in the closing pages, while the second section clearly recalls the parallel Agitato passage of the earlier work. Shortly after their completion Rachmaninoff gave two complete performances of the thirteen preludes (published as Op.32) thereafter including only selections in his programmes (as he had done with the Op.23 set) and although a complete edition of all twenty-four (including the C sharp minor) appeared in 1911, he never performed them in their entirety.

    Études Tableaux

    Although Rachmaninoff never denied the existence of extra-musical influences on his creative process, stating: “there must be something definite before my mind to convey a definite impression, otherwise the ideas refuse to appear”, he was careful to conceal this process, and his piano compositions generally have neutral or generic titles which give few clues as to their meaning or interpretation.

    This no doubt would also have been the case with the two sets of Etudes-Tableaux (Opp. 33 and 39) but for a proposal from Serge Koussevitzky in 1930 for Respighi to orchestrate a selection of them.

    Rachmaninoff reacted enthusiastically to the idea and to assist Respighi revealed to him the “secret explanations” of the five chosen pieces (Op.33/7, and Op 39/2, 6, 7 and 9). The original set comprised nine pieces composed between 11th August and 11th September 1911, but three (numbers 3 to 5 in the original sequence) were removed before publication in August 1914.

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    The reasons for this are obscure – possibly Rachmaninoff wished to conceal evidence of self-borrowing from the projected Fourth Piano Concerto (only completed in 1926) and the First Piano Sonata of 1908 – and the “Third” and “Fifth” remained unpublished (as he wished) until 1948. They are now generally restored to their original places in Op.33 (as here) permitting the work to be heard more or less than Rachmaninoff first conceived it (although not as he intended it to be heard).

    An entirely faithful reconstruction of the original is however precluded by the inclusion of the A minor piece in the Op.39 set. Rachmaninoff began work on this in late 1915, completing it the following autumn, and its composition were overshadowed not only by the war but also the deaths in quick succession of his friends Skriabin and Taneyev and his father.

    Both sets feature Rachmaninoff’s signature musical characteristics – the Dies irae motif and bell-like sonorities – and his notes for Respighi reveal that Op.33/7 depicts a Russian fair, Op.39/2 “The Sea and Seagulls” (a slightly implausible connection which seems to have been made by his wife rather than Rachmaninoff himself) and Op.39/6 “The Tale of Red Riding Hood and the Wolf” (although in this version the wolf seems to have the last word!).

    The “story” behind Op.39/7 is the most detailed: a funeral march and choir heard in alternation, with the E flat minor passage suggesting “a fine rain…. incessant and hopeless”, recalling the bad weather at Skriabin’s funeral (which was to prove fatal to Taneyev, who caught pneumonia). The title “Snowstorm” for Op.33/6 although apposite, is not Rachmaninoff’s own and according to Oscar von Riesemann’s not altogether reliable biography, Op.33/8 and Op.39/1 were based on Arnold Böcklin’s paintings “Morning” and the “Play in the Waves” respectively.

    The final Op.39 étude, which introduces an optimistic note into the set with the appearance of the major for the first time, was the last piece Rachmaninoff completed before leaving Russia in December 1917.


    Rachmaninoff’s initial judgement on the First Piano Sonata was somewhat pessimistic: “too long and difficult….and of dubious musical value”. He sought advice from his friends Nikita Morozov and Konstantin Igumnov and the version published in April 1908 was shorter and showed significant structural alterations from the original.

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    Unusually, he did not premiere the work himself and was not even present when Igumnov gave the first performance in Moscow in October 1908. Rachmaninoff later disclosed to him a programmatic substructure for the sonata’s three movements, taken from Goethe’s Faust. He follows Liszt’s Faust Symphony in the representation of Faust, Gretchen and Mephistopheles in each of its three movements, and had at one point actually contemplated transforming the sonata into a symphony.

    The first movement opens with the “Faust” motif alternating pianissimo fifths with forte chordal cadences. A second meditative theme of descending and ascending figures becomes progressively more turbulent, combining with the Faust theme to form a third chant-like theme. These elements are developed in increasingly tumultuous fashion as the movement progresses, with “Gretchen” theme prefigured towards the close.

    The second movement is simpler in structure, but its long melodic line underpinned by unstable figuration does is not a straightforward picture of the “eternal feminine”. The Allegro molto finale does not introduce any new themes but is constructed from short snatches of material from the first two movements, with the almost inevitable appearance of the Dies irae towards the end of the second reprise.

    The work was politely rather than enthusiastically received and Rachmaninoff seldom performed it, dropping it completely from his concert programmes after the composition of the Second Sonata.

    This was sketched during a visit to Rome in 1913, simultaneously with the composition of The Bells and shares that work’s fascination with bell-like timbres and sonorities particularly in the first movement recapitulation and the opening of the third movement.

    Rachmaninoff had similar concerns about this sonata, particularly on its length and complexity, but took no steps to revise it until 1931 when he rewrote it substantially, tightening its structure and cutting much developmental thematic material.

    The three movements are linked by bridging passages, giving the impression of a single movement work: the first follows strict sonata form in thematic development and key progressions, the bridging passage introducing the E minor of the second.

    Rachmaninoff completely revised the ending to this movement, replacing the return to the first theme with a coda-like passage containing entirely new material. The transitional passage returns the work to B flat minor in the final movement, whose opening Rachmaninoff reworked to pick up the thematic material of the first movement’s opening to create a greater sense of cyclical unity.

    The revised version was certainly much shorter and less diffuse than the original, but many believed the revisions damaged the work’s internal architecture, and Horowitz persuaded Rachmaninoff to allow him to create another version which combines material from both versions.


    The Variations for the Piano on a Theme by Chopin (Op.22) on which he began work in August 1902, was Rachmaninoff’s first major work for solo piano The theme is taken from the Prelude in C sharp minor (Op.28/ 20), shortened slightly by the omission of bars 5-8. It has been suggested the twenty-two variations conceal the structure of a three or four movement work, but such theories, although persuasive, are compromised by the fact the published edition authorizes the omission of variations 7, 10 and 12 (in addition to the Presto coda) which, if implemented, would damage any underlying structure.

    The first fourteen variations retain the C sharp minor of the theme (apart from an excursion into E flat relative major in variation 11), ranging thereafter through a variety of keys before ending up in C major. In the first half of the work, the variations are shorter and, although distinct in character, remain close to the theme but become longer and stylistically more varied as the work progresses.

    Had Rachmaninoff produced a new edition as he promised, he might well have revised the final four variations, which he always considered to be too long.

    The Variations on a Theme by Corelli (Op.42) composed in 1931 at the same time as the revision of the Second Sonata, was Rachmaninoff’s first original work for solo piano since 1917 and his last major one for the instrument.

    Although the theme had indeed been used by Corelli in his sonata for violin Op.5/12 (to which Rachmaninoff had probably been introduced by Kreisler to whom Op.42 is dedicated), it was not in fact by him but a 17th century Portuguese dance tune La Folia, used by many composers including Bach Handel and Purcell and more recently Liszt in the Folie d’Espagne. The twenty variations are interrupted by an intermezzo and followed by a coda and as with Op.22 some have discerned within it a three or even four “movement” work comprising: variations 1-13, 14-15 (slow movement) and 16-20 (finale – with 16-17 potentially comprising a separate “scherzo”).

    As with Op.22, Rachmaninoff sanctioned the omission of certain variations (11, 12 and 19) at the player’s discretion. The first four variations remain close to the theme, which is then gradually disassembled until by variation 13 it is almost submerged.

    The cadenza-like intermezzo with its mysterious arpeggiated chords shifts the key into the D flat major of the two nocturne-like movements, in which the integrity of the theme is restored.

    D minor returns abruptly in the Allegro vivace 16th which begins an increasingly hectic progression to the conclusion where a meditative coda restores calm, the theme making a final ghostly appearance in the closing bars. Rachmaninoff was never quite happy with the Corelli Variations and never played them complete – he once admitted that he would reorder or omit variations in performance depending on how often the audience coughed and on one particularly noisy occasion he only managed ten!

    Moment Musicaux/Miscellaneous

    The six pieces published as Op.16 and given the title Moments Musicaux by his publisher were completed in a very short time at the end of 1896 when Rachmaninoff was in desperate need of money.

    However, they show no sign of the haste or financial constraint of their composition, and represent his most accomplished work for piano up to that point. Unlike the earlier Morceaux de Fantasie and Morceaux de Salon which bear evocative or generic titles, the pieces are untitled, leaving listeners to interpret their strongly contrasting moods for themselves.

    The first four are tonally related in minor keys of ascending fourths (B flat minor, E flat, B minor, E) while the last two are in the major keys of D flat and C. The opening Andantino is essentially a set of variations upon a long melodic line, and the Presto, which Rachmaninoff extensively revised in 1940, a Chopinesque étude whose simple melody, rising and falling in octaves, is blended into swirling triplet and sextuplet passagework.

    The opening bars of the Andante cantabile contain a strong reminiscence of Im Treibhaus from Wagner’s Wesendonk Lieder and the fourth, another Chopinesque étude, is reminiscent of the Op.10/12 (Revolutionary) and Op. 25/12 and requires a genuine virtuoso technique to negotiate the intricate sextuplet passage work.

    The Adagio Sostenuto is a barcarolle whose gentle melody unfolds above rocking left-hand triplets and the Maestoso provides a bravura conclusion to the work with its emphatic chordal theme and simple descending melody in octaves embedded in thirty-second note figuration which is played almost uninterruptedly throughout the work.

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    When the publisher Gutheil, who had paid five hundred roubles for Aleko offered Rachmaninoff two hundred for a collection of five short pieces, he readily accepted and these duly appeared in 1893 under the title Morceaux de Fantaisie.

    However, he was later to regret selling the rights to what was to become his most popular and most frequently performed work – the Prelude in C sharp minor.

    The other pieces in the set which never quite caught the popular imagination are the Chopinesque studies Elégie and Mélodie, Polichinelle (Pulcinella) whose mercurial character suggests the commedia del arte character (although the title was actually suggested after its completion) and Sérénade – a waltz whose Spanish overtones possibly derive by the gypsy context of Aleko.

    The Morceaux de Fantaisie was the first work for solo piano to which Rachmaninoff gave an opus number (Op.3) although several earlier ones survive, some written as student compositions – the Lento in D minor, the Canon in E minor and the piano version of the orchestral Suite in D Minor, others as independent compositions – the Three Nocturnes and Four Pieces, all of which remained unpublished until after Rachmaninoff’s death.

    The Morceaux de Salon (Op.10) of 1895 is a more ambitious in its scope and emotional range, and show Rachmaninoff’s true potential as a keyboard composer. His very first completed work had been a transcription of Tchaikovsky’s Manfred Symphony (now lost) and he later returned to this form to create transcriptions for his own use in concert performance and the recording studio.

    All, apart from the 1911 Polka de VR (referring to his father Vasilly Rachmaninoff to whom he erroneously attributed the charming original which is in fact a piece entitled Lachtäubchen by Franz Behr) were written during his years abroad.

    While most remain faithful to the original work – e.g. the Mendelssohn, Rimsky Korsakov and Mussorgsky pieces, some such as the Bach violin Partita movements and Schubert’s Wohin? are more radical in their treatments. Lullaby based on Tchaikovsky song was to be Rachmaninoff’s final work, thus ending his compositional career as it had begun – with a Tchaikovsky transcription.

    Piano Duets

    Rachmaninoff’s first piece of ensemble piano music, an 1886 arrangement of his beloved Tchaikovsky’s Manfred Symphony for piano duet, hasn’t survived, but at least we have his 1891 piano duet transcription of The Sleeping Beauty which, according to contemporary reports, was immeasurably more skilful in any case.

    His first original work in this genre, a Valse & Romance for six hands (1890-1), was composed for his three cousins, the Skalon sisters, to play seated at one piano, the music’s main point of interest being that he later adapted the opening of the Romance as the central movement of his Second Piano Concerto.

    Rachmaninoff began 1891 in full flow with his exhilarating Russian Rhapsody for two pianos, composed in the form of a theme and eight variations, and completed in just three days.

    The theme itself has an untypically folk-like feel to it, and the self-conscious brilliance of the succeeding variations suggests that they were written primarily as a vehicle for his own virtuosity. It was around this time that Rachmaninoff first emerged with a daring new cropped hairstyle, which so delighted his friends and family that he kept it to the end of his days.

    Just two years separate the Rhapsody from the Fantaisie-tableaux (Suite No.1) for two pianos, dedicated to Tchaikovsky with his permission, yet stylistically it seems light years away from its predecessor.

    Cast in four mesmerising movements, it is one of the most prophetic of Rachmaninoff’s early opuses. The sounds of bells are obsessively recalled throughout, particularly during the manic finale. The curious association for Rachmaninoff of bells with weeping is made explicit by the third movement, ‘Tears’.

    This was directly inspired by the awesome chimes of St. Sofiya’s Cathedral in Novgorod, which Rachmaninoff had often visited with his grandmother.

    If the piano-duet Romance and the Six Pieces for piano duet Op.11, both dating from 1894, are more salonesque in hue – Rachmaninoff later confessed that the latter were composed simply to ‘help balance the books,’ and never played them publicly or even privately to an audience – there is no doubting the recreative brilliance of his 1897 piano-duet transcription of Glazunov’s Sixth Symphony.

    Rachmaninoff’s one incontrovertible masterpiece of multiple pianism, however, is the Suite No.2 for two pianos, Op.17 (1901), premiered by Rachmaninoff and his cousin, Alexander Siloti. The chant-like shape of many of the themes, the whirlwind, bell-wrung finale, and several concealed references to the Dies Irae, make this the Rachmaninoff work par excellence. Brighter in general mood than his most recent work, the Suite brims over with a new-found melodic luxuriance and creative dynamism, which fuse to produce among the finest of all works for two pianos.

    Rachmaninoff’s final original work for piano ensemble, the delightful Polka Italienne for piano duet (1906), provides a rare example of him letting his hair down, while his piano-duet and two-piano arrangements of The Rock, Caprice Bohemian, First Symphony and, most notably, Symphonic Dances, lay further evidence of his ability to translate orchestral textures in pianistic terms.

    Études-Tableaux Op.33

    1. No.1 in F minor, allegro
      non troppo 2’47
    2. No.2 in C, allegro 2’23
    3. No.3 in C minor, grave 5’35
    4. No.4 in D minor, moderato 3’04
    5. No.5 in E flat minor,
      non allegro-presto 1’50
    6. No.6 in E flat, allegro con fuoco 1’59
    7. No.7 in G minor, moderato 4’01
    8. No.8 in C sharp minor, grave 2’55
      Études-Tableaux Op.39
    9. No.1 in C minor,
      allegro agitato 3’13
    10. No.2 in A minor, lento assai 6’10
    11. No.3 in F sharp minor,
      allegro molto 2’54
    12. No.4 in B minor, allegro assai 3’38
    13. No.5 in E flat minor,
      appassionato 5’29
    14. No.6 in A minor, allegro 2’45
    15. No.7 in C minor, lento, lugubre 5’25
    16. No.8 in D minor,
      allegro moderato 3’36
    17. No.9 in D, allegro moderato 3’35
      Zlata Chochieva piano
      Recording: 4-5 September 2015, Westvest Church, Schiedam, Netherlands
      Producer: Pieter van Winkel
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    1. Prelude Op.3 No.2 Lento, in C sharp minor 4’09
      Preludes Op.23
    2. No.1 Largo in F sharp minor 3’00
    3. No.2 Maestoso in B flat 3’33
    4. No.3 Tempo di minuetto
      in D minor 3’13
    5. No.4 Andante cantabile in D 4’32
    6. No.5 Alla marcia in G minor 3’46
    7. No.6 Andante in E flat 2’38
    8. No.7 Allegro in C minor 2’33
    9. No.8 Allegro vivace in A flat 3’30
    10. No.9 Presto in E flat minor 1’51
    11. No.10 Largo in G flat 3’32
      Preludes Op.32
    12. No.1 Allegro vivace in C 1’14
    13. No.2 Allegretto in B flat minor 3’07
    14. No.3 Allegro vivace in E 2’37
    15. No.4 Allegro con brio
      in E minor 5’36
    16. No.5 Moderato in G 3’11
    17. No.6 Allegro appassionato
      in F minor 1’27
    18. No.7 Moderato in F 2’17
    19. No.8 Vivo in A minor 1’48
    20. No.9 Allegro moderato in A 2’58
    21. No.10 Lento in B minor 5’25
    22. No.11 Allegretto in B 2’18
    23. No.12 Allegro in G sharp minor 2’28
    24. No.13 Grave in D flat 5’09
      Lukas Geniušas piano
      Recording: Live, Grand Hall of Moscow Conservatory, March 25, 2013
      Sound engineer/mastering: Anastasia Rybakova
      Engineer: Igor Solovyov
      Executive producer: Eugene Platonov
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      Piano Classics is a tradename of Brilliant Classics B.V.

    Variations on a Theme of Chopin Op.22

    1. Theme: largo 1’13
    2. Var. 1: moderato 0’42
    3. Var. 2: allegro 0’15
    4. Var. 3 0’15
    5. Var. 4 0’50
    6. Var. 5: meno mosso 0’24
    7. Var. 6: meno mosso 1’02
    8. Var. 7: allegro 0’17
    9. Var. 8 0’21
    10. Var. 9 0’20
    11. Var. 10: più vivo 0’30
    12. Var. 11: lento 1’27
    13. Var. 12: moderato 2’05
    14. Var. 13: largo 1’15
    15. Var. 14: moderato 1’20
    16. Var. 15: allegro scherzando 1’23
    17. Var. 16: lento 1’08
    18. Var. 17: grave 1’33
    19. Var. 18 più mosso 0’50
    20. Var. 19: allegro vivace 1’11
    21. Var. 20: presto 1’07
    22. Var. 21: andante-più vivo 2’36
    23. Var. 22: maestoso 4’50
      Piano Sonata No.1 in D minor Op.28
    24. I. Allegro moderato 12’05
    25. II. Lento 8’06
    26. III. Allegro molto 14’16
      Zlata Chochieva piano
      Recording: January 2012, Studio I Musicanti, Rome
      Sound engineer, mastering and producer: Giovanni Caruso
      Musical supervision: Dario Paolini, Giovanni Caruso
      Editing: Giovanni Caruso, Andrea Caruso
      Piano Gran Coda Yamaha CFIII
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      Piano Classics is a tradename of Brilliant Classics B.V.

    Moments Musicaux Op.16

    1. No.1 in B flat minor, andantino 7’06
    2. No.2 in E flat minor, allegretto 3’10
    3. No.3 in B minor, andante
      cantabile 6’25
    4. No.4 in E minor, presto 2’56
    5. No.5 in D flat, andante
      sostenuto 3’22
    6. No.6 in C, maestoso 4’38
      Alexander Gavrylyuk piano
      Piano Sonata No.2 in B flat minor Op.36 (revised version, 1931)
      Movement 1
    7. Allegro agitato 1’40
    8. Meno mosso: Measure 38 1’39
    9. Measure 55 1’43
    10. Tempo I: 98 2’54
      Movement 2
    11. Non allegro – Lento 3’22
    12. Poco più mosso: 36 1’14
    13. Tempo I: 63 – attacca 1’30
      Movement 3
    14. L’istesso tempo – Allegro molto 1’42
    15. A tempo meno mosso: 76 0’55
    16. Tempo I: 106 1’20
    17. Tempo rubato: 184 1’37

    Variations on a theme of Corelli Op.42

    1. Theme. Andante 1’01
    2. Var. 1. Poco più mosso 0’47
    3. Var. 2. L’istesse tempo 0’39
    4. Var. 3. Tempo di menuetto 0’36
    5. Var. 4. Andante 0’55
    6. Var. 5. Allegro 0’20
    7. Var. 6. L’istesso tempo 0’21
    8. Var. 7. Vivace 0’26
    9. Var. 8. Adagio misterioso 1’02
    10. Var. 9. Un poco più mosso 1’16
    11. Var. 10. Allegro scherzando 0’34
    12. Var. 11. Allegro vivace 0’20
    13. Var. 12. L’istesso tempo 0’31
    14. Var. 13. Agitato 0’41
    15. Intermezzo: A tempo rubato 1’25
    16. Var. 14. Andante 1’05
    17. Var. 15. L’istesso tempo 1’16
    18. Var. 16. Allegro vivace 0’36
    19. Var. 17. Meno mosso 1’16
    20. Var. 18. Allegro con brio 0’34
    21. Var. 19. Più mosso – Agitato 0’29
    22. Var. 20. Più mosso – Coda 2’29
      Santiago Rodriguez piano

    Four Improvisations on Themes of Arensky, Glazunov, Taneyev and Rachmaninoff (c.1896–97)

    1. Moderato in E minor 0’55
    2. Allegretto in C major 0’43
    3. Allegro scherzando in
      B flat minor 0’38
    4. Lento – Tempo di valse –
      Tempo di marcia – Tempo del
      commincio, largo in F minor 1’06
    5. Morceau de fantaisie in G minor (Delmo) Liberamente
      (11–23 January 1899) 1’00
    6. Fughetta in F Moderato
      (4–16 February 1899) 2’27
      Nils Franke piano
      Recording: 27 April 2011, Westvest Church Schiedam, The Netherlands (tr.1-6); January & April 1993 (tr.7-17), June 1994 (tr.18-39), John Addison Concert Hall, Fort Washington, USA; 1–3 August 2008, Music Room, Champs Hill, West Sussex, England (tr.40-45)
      Producer: Pieter van Winkel (tr.1-6); Natalia Rodriguez (tr.7-39); Ates Orga (tr.40-45)
      Engineer: Peter Arts (tr.1-6); Edward Kelly (tr.7-39); James Shannon, Andrew Mellor (Editor) (tr.40-45)
      Licensed from Élan Recordings (tr.7-39)
      p 2016 Piano Classics (tr. 1-6)
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    Morceaux de Fantaisie Op.3

    1. Elégie in E flat minor 4’46
    2. Prélude in C sharp minor 3’50
    3. Mélodie in E major 3’56
    4. Polichinelle in F sharp minor 3’45
    5. Sérénade in B flat minor 3’22
      J.S. BACH. from the violin partita in E
    6. Prélude 4’00
    7. Gavotte 3’18
    8. Gigue 1’54
    9. F. SCHUBERT Wohin? 2’33
    10. G. BIZET Menuet from ‘L’Arlésienne” 3’00
    11. F. MENDELSSOHN Scherzo from
      “A Midsummernight dream” 4’29
      The Lilacs 2’32
      The Daisies 2’44
    14. P. TCHAIKOVSKY Lullaby 5’03
      Hopak from
      “The Sorochintsy fair” 2’05
      The Flight of the Bumble-bee, from “The Tale of the Tsar Saltan” 1’09
    17. F. KREISLER Liebesleid 4’29
    18. F. KREISLER Liebesfreud 6’39
    19. Polka V.R. 4’10
      Alexander Ghindin piano
    1. Oriental Sketch in B flat
      Non allegro
      (14–27 November 1917) 1’57
    2. Piece (Prelude) in D minor
      Andante ma non troppo –
      Poco più mosso – Tempo I
      (14–27 November 1917) 2’37
    3. Fragments in A flat
      Andante semplice – Più mosso – Come prima
      (15–28 November 1917) 2’02
    4. The Star-Spangled Banner in B flat
      (15 December 1918) 1’28
      . after John Stafford Smith’s
      To Anacreon in Heaven, 5th Book of Canzonets, Catches, Canons and Glees, London 1799
      Nils Franke piano
      Recording: September 1995, Moscow Conservatory (tr.1-19); 1–3 August 2008, Music Room, Champs Hill, West Sussex, England (tr.20-23)
      Producer: Edward Shakhnazarian (tr.1-19); Ates Orga (tr.20-23)
      Editing: Farida Uzbekova )tr.1-19);
      Engineer: James Shannon (tr.20-23)
      Editing: Farida Uzbekova (tr.1-19); Andrew Mellor (tr.20-23)
      p 2016 Piano Classics (tr. 1-19)
      © 2021 Brilliant Classics
      Piano Classics is a tradename of Brilliant Classics B.V.

    Suite in D minor (1890/1891)

    1. Lento -Allegro moderato 5’48
    2. Lento 5’34
    3. Menuetto-Trio 2’20
    4. Allegro 4’43
    5. Song without words
      in D minor, lento (1886/7) 1’27
      Four Pieces (1887-1891)
    6. Romance 1’59
    7. Prélude 3’12
    8. Mélodie 3’02
    9. Gavotte 3’39
      Nocturnes (1887/88)
    10. Nocturne in F 3’24
    11. Nocturne in F sharp minor 4’03
    12. Nocturne in C minor 4’03
    13. Canon in E minor (1889-92) 2’26
    14. Prelude in F (1891) 2’34
      Morceaux de salon Op.10 (1893/4)
    15. Nocturne 4’47
    16. Valse 3’16
    17. Barcarolle 4’49
    18. Mélodie 3’50
    19. Humoresque 3’20
    20. Romance 4’07
    21. Mazurka 5’33
      Elisa Tomellini piano
      Recording: 21/22 February 2016, Cavalli Music
      Recording Studio, Castrezzato/Brescia, Italy
      Producer: Alberto Spano
      Engineer: Rino Trasi
      Piano: Steinway & Sons Grand Piano, Model D 274 No. 594457 (Hamburg 2013) from the Passadori Pianoforti Collection, Brescia
      Piano technician: Giulio Passadori
      p 2016 Piano Classics
      © 2021 Brilliant Classics
      Piano Classics is a tradename of Brilliant Classics B.V.

    Fantaisie-tableaux (Suite No.1) for two pianos Op.5

    1. Barcarolle 7’48
    2. La nuit…l’amour 5’45
    3. Les larmes 6’34
    4. Pâques 2’26
    5. Russian Rhapsody 8’50
      Six Morceaux for piano duet Op.11
    6. Barcarolle 4’59
    7. Scherzo 2’47
    8. Russian Theme 4’15
    9. Valse 3’41
    10. Romance 3’35
    11. Slava 4’17
      Two Pieces for piano six-hands
    12. Valse 1’11
    13. Romance 3’42
    14. Polka italienne for piano duet 1’56
      Suite No.2 for two pianos Op.17
    15. I. Introduction 4’28
    16. II. Valse 6’25
    17. III. Romance 7’01
    18. IV. Tarantelle 6’02

    Symphonic Dances for two pianos Op.45

    1. I. Non allegro 10’56
    2. II. Andante con moto,
      tempo di valse 8’41
    3. III. Lento assai –
      Allegro vivace 12’39
    4. Romance in G for piano duet 1’44
    5. Prelude in C sharp minor
      for two pianos 4’21
      Ingryd Thorson & Julian Thurber
      piano duet
      with David Gardiner (168–169)
      Recording: 1985, Paula’s Recording Hall, Denmark
      Producer: Karin Jürgensen
      Engineers: Leif Ramlöv Svendsen & Karin Jürgensen
      Licensed from Paula Records, Denmark
      © 2021 Brilliant Classics

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