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J . S . B A C H
English Suite No. 6 in D minor, BWV 811 |
18'41 |
| 1 |
I. Prelude |
7'27 |
| 2 |
II. Allemande |
2'12 |
| 3 |
III. Courante |
2'10 |
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| IV. Sarabande (not on CD) |
- |
| 4 |
V. Gavotte I; Gavotte II; da capo Gavotte I |
3'36 |
| 5 |
VI. Gigue |
3'16 |
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F R A N Z S C H U B E R T
Wanderer Fantasie, D 760 (Op. 15) |
24'53 |
| 6 |
I. Allegro con fuoco ma non troppo |
6'16 |
| 7 |
II. Adagio |
6'25 |
| 8 |
III. Presto |
4'43 |
| 9 |
IV. Allegro |
4'04 |
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| J O H A N N E S B R A H M S |
| 10 |
Four Pieces, Op. 119, I played his Three Pieces, Op. 119. For my first encore, I\'d like to pay my debt by playing Brahms\' Intermezzo, Op. 119 No. 3 in C.', CAPTION, 'Brhams - Intermezzo Op. 119 No. 3');" onmouseout="return nd();">Intermezzo, Op. 119 No. 3 in C |
1'51 |
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W I L L I A M B O L C O M
The Garden of Eden: Four Rags for Piano
pub. Edward B. Marks Music Company
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13'52 |
| 11 |
1. Old Adam - Two Step |
2'55 |
| 12 |
2. The Eternal Feminine - Slow Drag |
5'21 |
| 13 |
In this example, the x marks indicate piano tapping the first time, followed by tongue clicking when it is repeated an octave higher. In this recording, Twedt substitutes finger snapping for tongue clicking (who can click their tongue loud enough for a concert hall audience to hear it clearly at the rate of about seven times per second?).', CAPTION, 'The Garden of Eden (III - The Serptent\'s Kiss)', WIDTH, 400);" onmouseout="return nd();">3. The Serpent's Kiss - Rag Fantasy |
5'36 |
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4. Through Eden's Gates (not on CD) |
- |
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S E R G E I R A C H M A N I N O V
Études-Tableaux |
17'20 |
| 14 |
Op. 33 No. 9 in C-sharp minor |
3'10 |
| 15 |
Op. 33 No. 5 in D minor |
3'09 |
| 16 |
Op. 33 No. 8 in G minor |
3'36 |
| 17 |
Russian version of Little Red Riding Hood, which doesn\'t have quite so happy an ending. Barrie Martyn writes, "The opening ascending chromatic scales are clearly the wolf\'s growls, and the tremulously agitated right hand semi-quavers ... represent the terrified girl. As what seems to be a puruit accelerates and reaches its climax, the music becomes increasingly daring harmonically, reaching a limit Rachmaninoff did not exceed in this opus or anywhere else, demonstrating again what his critics have so often in the past refused to accept, namely that he is a composer of the twentieth and not the nineteenth century... In the coda the girl\'s motif assumes a pathetically pleading character, but as the piece finishes, as it began, with two growls and a snap, we may conclude that the wolf eats her up."', CAPTION, 'Étude-Tableaux Op. 39 No. 6 in A minor', WIDTH, 380);" onmouseout="return nd();">Op. 39 No. 6 in A minor |
2'50 |
| 18 |
Op. 39 No. 9 in D |
4'35 |
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