Symphony No. 6 in F major ("Pastoral"), Op. 68: Erwachen heiter Empfindungen bei der Ankunft auf dem Lande (Éveil d'impressions joysuses à la vue d
String Quartet No. 14 in D minor ("Death and the Maiden"), D. 810: Der Tod und das Mädchen (La jeune fille et la mort / Death and the Maiden) Andante con moto
Sonetto del Petrarca No. 104 (Pace non trovo; II) for piano, S. 161/5 (LW A55/5) (Années II/5)
Gestillte Sehnsucht ("In goldnen Abendschein"), song for alto, viola & piano, Op. 91/1
Pictures at an Exhibition (Kartinki s vïstavski), for piano: Promenade - Moderato commodo assai e con delicatezza
Symphony No. 6 in F major ("Pastoral"), Op. 68: Erwachen heiter Empfindungen bei der Ankunft auf dem Lande (Éveil d'impressions joysuses à la vue d
String Quartet No. 14 in D minor ("Death and the Maiden"), D. 810: Der Tod und das Mädchen (La jeune fille et la mort / Death and the Maiden) Andante con moto
Sonetto del Petrarca No. 104 (Pace non trovo; II) for piano, S. 161/5 (LW A55/5) (Années II/5)
Gestillte Sehnsucht ("In goldnen Abendschein"), song for alto, viola & piano, Op. 91/1
Pictures at an Exhibition (Kartinki s vïstavski), for piano: Promenade - Moderato commodo assai e con delicatezza
Pictures at an Exhibition (Kartinki s vïstavski), for piano: Il vecchio castello
Kinderszenen No. 7 ("Träumerei"), for piano, Op. 15/7
Rêverie et caprice for violin & orchestra ("romance"), H.88 (Op. 8)
Joyaux Romantiques, the second volume of Analekta's Jewels of the Romantic Era, covers very familiar ground, insofar as its program includes some of the best-known examples of nineteenth century music. Yet in its representation of the era's masters, it overlaps the first volume by drawing from two composers who were already introduced. Granted, the first movement of the Symphony No. 6 in F major, "Pastoral," presents a different side of Ludwig van Beethoven than does the opening of his Symphony No. 5 in C minor, and ...
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Joyaux Romantiques, the second volume of Analekta's Jewels of the Romantic Era, covers very familiar ground, insofar as its program includes some of the best-known examples of nineteenth century music. Yet in its representation of the era's masters, it overlaps the first volume by drawing from two composers who were already introduced. Granted, the first movement of the Symphony No. 6 in F major, "Pastoral," presents a different side of Ludwig van Beethoven than does the opening of his Symphony No. 5 in C minor, and Johannes Brahms' Geistillte Sehnsucht from Two Songs, Op. 91, is expressively unlike his Rondo of the Piano Concerto No. 1. But such "double-billing" of composers in a survey of limited scope means other major figures have to be left out. Where, for instance, is Carl Maria von Weber, or for that matter, Richard Wagner, two of the most seminal composers of the Romantic movement? Even so, several of the greats are gathered here: Franz Schubert is represented by the Andante con moto from his...
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