Classical Period Romantic 175 Tracks Found
Etude Op.10 No.4 in C#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell One of the most exciting etudes, it features brutal passagework of single notes close together, with widespread open chords in the middle section. It is also an etude of endurance and velocity with no break from beginning to end.
Etude Op.10 No.3 in E
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell An etude in ABA form, with the A section dealing with blaance and voicing between the hands, and with the B section dealing with widespread double notes.
Etude Op.25 No.6 in G#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Perhaps the most difficult study of thirds in all of piano repertoire.
Etude Op.25 No.11 in A-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Winter Wind" etude, this monster of an etude features a march-like left hand with a turbulent and very chromatic right hand accompaniment. Jose Iturbi remarks, "The Etude in A minor is about impossible. You can keep it up for a few pages, but for eight pages, who can really do that?"
Etude Nouvelle No.3 in Ab from Methode de Moscheles et Fetis
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in two-against-three rhythm, this is complicated by demands for voicing in right hand three-note chords. Balance is difficult to maintain with only single-note configurations for the left hand.
Waltz Op.18 in Eb
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell One of Chopins greatest waltzes, this is a piece with strong rhythms and accents. It also features repeated notes as well as chromatic grace notes and melody, appearing in the middle section and coda. This is a grand waltz indeed, perhaps only to be outdone by Chopins second waltz in A-flat.
Study Op.740 No.13 in Bb
CZERNY / Classical Electronic, Classical Period Romantic		Kevin Hadsell "The utmost velocity"
Study Op.740 No.16 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Changing the fingers in rapid playing"
Study Op.740 No.22 in B
CZERNY / Classical Experimental, Classical Period Romantic		Kevin Hadsell "Trill study"
Study Op.740 No.35 in F
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Changing fingers on one and the same key"
Etude Op.10 No.2 in A-
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell Chromatic scales for 3rd, 4th, and 5th fingers while rendering triads in the same hand.
Etude Op.10 No.5 in Gb
CHOPIN / Classical Period Romantic, Cartoon		Kevin Hadsell The "Black Key" etude is a study on the black keys involving rotary action and relaxed wrists with a chromatically melodic left hand.
Etude Op.10 No.6 in Eb-
CZERNY / Classical Period Romantic, Tragic		Kevin Hadsell A study in shaping a melodic and line so that it sustains a singing sound from one phrase to the next without sounding forced, all over a chromatic left hand.
Etude Op.10 No.8 in F
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell A study in rapid and extended passagework requiring skillful and controlled placement of the thumb.
Etude Op.10 No.10 in Ab
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in alternating sixths in the right hand against wide arpeggiated leaps in the left hand, as well as a study in counter-rhythms that play tricks on the brain. Beware! Hans von Bulow said, "He who can play this study in a real finished manner may congratulate himself on having climbed to the highest point of the pianists Parnassus."
Etude Op.10 No.11 in Eb
CHOPIN / Classical Period Romantic, Classical Harp		Kevin Hadsell A study in extremely widespread rolled chords while maintaining a continuously-flowing melodic line, creating a harp-like effect.
Etude Op.10 No.12 in C-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Revolutionary," this etude is a study in left hand arpeggios as well as passagework, requiring great endurance in the left hand.
Etude Op.25 No.3 in F
/ Classical Experimental, Classical Period Romantic		Kevin Hadsell As I recorded this etude, constantly in the back of my mind was a galloping horse. Ogdon refers to this etude as "a study in the precise rhythmic values of ornaments."
Etude Op.25 No.4 in A-
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell A study in staccato left hand leaps as well as right hand syncopation. Hey, wait a minute - does that mean this etude is a ragtime piece? You should be able to hear how much fun I had interpreting this piece.
Etude Op.25 No.5 in E-
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell Also known as the "Wrong Note" etude due to such spicy (even humorous) ornaments, this etude is one of the few with a middle section. The outer sections resemble a mazurka, and the middle section resembles a barcarolle, with one of the most beautiful melodies Chopin has ever written. This melody resides in the tenor voice, creating a kind of "three-hand" effect.
Etude Op.25 No.7 in C#-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also called the "Cello" etude, this etude is among Chopins most famous works because of the left hand melody, resembling more of a nocturne than an etude.
Etude Op.25 No.8 in Db
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study in sixths which can be harmful to small hands if not practiced with care. Von Bulow considered it "the most useful exercise in the whole range of etude literature."
Etude Op.25 No.10 in B-
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Also known as the "Octave" etude, this fierce etude calls for great endurance in playing legato octaves. The contrasting middle section provides physical and emotional relief, but, as Niecks says, "...hell finally prevails."
Etude Op.25 No.12 in C-
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell Also called the "Ocean" etude, it is a study of arpeggios in both hands, requiring powerful weight control and balance in both hands. Some say this etude is an "echo" of the Op. 10 No. 1 etude.
Etude Nouvelle No.1 in F- from Methode de Moscheles et Fetis
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study of rhythms of three against four, with right hand single notes and left hand arrpeggios. The three against four is difficult because of the distances between notes, where being closer would not present a challenge. This is such a rich tapestry of sound with its murmuring left hand and chromatic right, they compliment each other to their desired end.
Etude Nouvelle No.2 in Db from Methode de Moscheles et Fetis
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study in single-hand legato and staccato patterns. It is very difficult to maintain the legato melodic line with a connected left hand without comprimising the lower staccato notes of the right hand. This piece reminds one of a certain playfulness, and the serenity of harmonies joined together to meet the listener with the innocense of childhood.
Study No.1 in C (Chopin Op.10 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopin Op. 10 No. 1 etude in widespread arpeggios and jumps, as well as endurance. Godowskys arrangmement takes Chopins figurations to the left hand, and the right hand is given contrary arpeggios.
Study No.2 in Db (Chopin Op.10 No.1)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Etude Op. 10 No. 1, for the left hand alone, consisting of widespread arpeggios in both ascending and descending patterns, with slightly different harmonies than what Chopin used.
Study No.4 in A- (Chopin Op.10 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 2 etude. This study uses Chopins original right hand pattern in the left hand with complimenting triads in the right hand. This is further frustrated with triplets in the right. Godowsky creates a game between the devilish dance of evil of the right hand with the whispering conscience of good in the left, settling together where all is at quiet at rest in the coda. Oil and water do mix!
Study No.5 in Db (Chopin Op.10 No.3)
CHOPIN / Classical Period Romantic, Romantic		Kevin Hadsell After Chopins Op. 10 No. 3 etude, this etude is for left hand alone. One would have to hear it to believe it. Here Godowsky moves to the warmer key of D-flat, moving and changing harmonies in mood with the key change. This is a great piece for the left handed pianist and seves as a great encore with its soothing mood and style. A must for any serious artist.
Study No.6 in C#- (Chopin Op.10 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 4 etude. Accompaniment and melody join together as one to form a true work of genius for the left hand alone. Nothing is left out or to chance with melody moving wherever it may to create a two hand effect. This study demands utmost endurance, combined with total control and independance of fingers. The left hand truly carries a candle burning at both ends!
Study No.7 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Etude Op. 10 No. 5 ("Black Key"). The right and left hand reverse roles exactly: All of Chopins original right hand notes were placed verbatum in the left hand, and all of his original left hand chords were placed in the right hand, a delightful alternative to the original.
Study No.11 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude ("Black Key"). The original right hand pattern is inverted (i.e. begins by ascending rather than descending) and placed into the left hand. I call this the "Bird Key" etude, because of the chirping right hand.
Study No.12 in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 5 etude ("Black Key"). The original right hand part is inverted, and the left hand is given quadruplets to play against the right hands sextuplets.
Study No.12a in Gb (Chopin Op.10 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study after Chopins Op. 10 No. 6 etude, for left hand alone. Hats off to Godowsky! This composition maintains all of Chopins original melody stretched over counter harmonic arpeggios, keeping the cantabile character intact. Genius!
Study No.13 in Eb- (Chopin Op.10 No.6)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell A study after Chopins Op. 10 No. 6 etude, for left hand alone. Hats off to Godowsky! This composition maintains all of Chopins original melody stretched over counter harmonic arpeggios, keeping the cantabile character intact. Genius!
Study No.14 in C (Chopin Op.10 No.7)
CHOPIN / Classical Experimental, Classical Period Romantic		Kevin Hadsell After Chopins Etude Op. 10 No. 7, the left hand plays exactly what Chopins original right hand plays. A very clever melody is invented by Godowsky, which gives the piece a toccata-like flavor
Study No.15 in Gb (Chopin Op.10 No.7)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Here Godowsky explores the limits of human possibility. Melody is tranferred between the hands, while maintaining accompaniment for both. Nothing of the original is lost, but a lot more is surely added!
Study No.15a in Eb (Chopin Op.10 No.7)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude Op. 10 No. 7, a study for left hand alone. Here, the left hand provides both the melody and an embellished accompaniment, with counter harmonies.
Study No.16 in F (Chopin Op.10 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude Op. 10 No. 8, this is an inverted representation of Chopins original right hand figure for the left hand, with counter harmonies and arpeggios played by the right hand. A true nightmare in spacing.
Study No.16a in Gb (Chopin Op.10 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study for left hand alone. This is especially difficult to maintain the melodic line by constant movement, which does not allow the piece to lie under the hand.
Study No.18 in F- (Chopin Op.10 No.9)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell This is two etudes combined into one: Chopins Opus 10, No. 9 and Opus 25, No. 2, the left hand comprising the latter. The composition is very thick, almost sounding fugal in nature. However, the melodic integrity of Op. 10, No. 9 is maintained under the contrasting etude of Op. 25 No. 2. The genius of the arrangement equals the genius of the original, with much added difficulty. The coda uses closing themes from both etudes, for a delightful and rather unexpected conclusion.
Study No.18a in F#- (Chopin Op.10 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A study for the left hand alone, but who would have guessed that! Here Godowsky takes full advantage of Chopins melody shifting with contrasting harmonies shifting across the keyboard like an acrobat in the full flight of ecstasy. This is sustained by the hypnotizing C-sharp resounding with a hollow like quality holding the listener captive. Surely one of Godowskys greatest transcriptions.
Study No.19 in D (Chopin Op.10 No.10)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell Godowsky makes a key change from A-flat major to D major employing right to left hand. This metamorphasis is further developed through the use of full triads, rather than sixths in Chopins original. Ornamentation is added to the right hand to make things even more challenging, along with more complex rhythms as the work progesses to a descending climax with triads in both extemities, until the D major recapitulation returns for the finale of finales!
Study No.20 in Ab (Chopin Op.10 No.10)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Written for left hand alone, Godowsky employs counter chromatic figures against the upper melody, coupled with rythmic doubling and counter hamonies. This etude would seem impossible upon hearing that it could all be contained in one hand, and one brain for that matter. A true work of contrapuntal art, bravo!
Study No.21 in A (Chopin Op. 10 No.11)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 11 etude, and written for left hand alone, this etude incorporates the melody in the last note of rolled arrpegiated triads, which proposes a large jump from the lower notes of triads (indicated by a separate staff). The difficulty does not lie on the surface, but upon execution of the most austere kind. This also requires utmost balance of voice and tonal control. Godowsky transposes to the brighter key of A major for tonal richness and playability.
Study No.22 in C#- (Chopin Op.10 No.12)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 12 ("Revolutionary"), here Godowsky transposes to the brighter and more exhilerating key of C-sharp minor. This etude moves frantically through with left hand alone! The shifting of accents and rhythms makes it exciting indeed with the melody moving freely in changing registers, still holding full melodic integrity. The thumb maintains most of the melody, being easier to bring out and becoming one of the more accessable of the Godowsky studies (if such a thing is possible).
Study No.23 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 1 and written for left hand alone, the melody is sustained throughout by the thumb (soprano) with counter-chromatic melodies played in the alto or tenor voice. This etude requires utmost balance and control, coupled with relaxation and flexibility.
Study No.24 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 1 etude, the right hand notes are copied to the left hand with the added fifth at the bottom of each second triplet. Godowsky then adds the same melody to the right, creating a "four-handed" effect.
Study No.25 in Ab (Chopin Op.25 No.1)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 1 and a most beautiful, sensitive piece, it requires a sensitive and sympathetic touch, extreme delicacy and refinement, independence of fingers, and a perfect legato--in other words, a voicing nightmare! Arguably the most ethereal etude Godowsky has written.
Study No.26 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 Etude. Here Godowsky places the single note right hand figure in the left hand with added harmonies coupled with right hand harmonies and complex rhythms. This certainly sounds improvised and is as difficult as it sounds.
Study No.27 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, Godowsky writes an inversion of Chopins right hand configuation, coupled with a waltz like rhythm throughout.
Study No.28 in F- (Chopin Op. 25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, here Godowsky keeps the single note passagework in the right hand. As if that were not enough already, he adds chromatic counter harmonies for the same hand, while adding minor sixths for the left.
Study No.28-2 in F#- (Chopin Op.25 No.2)
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell (Second version of Study No.28) After Chopins Op. 25 No. 2 etude, this represents a note-for-note translation from Chopins right hand single notes to Godowskys octaves. Legend says Liszt could play the octaves as fast as single notes according to those who heard him. Godowsky takes this a step further by adding minor sixths in the left hand coupled in chromatic interwoven harmonies, casting an etherial effect upon the listener.
Study No.29 in F (Chopin Op.25 No.3)
CHOPIN / Classical, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 3 etude, Godowsky shifts the melody between the hands using voicing from both hands, including syncopated rhythmic figures where needed. The key to this etude is flexibility and balance between hands at all times.
Study No.30 in F (Chopin Op.25 No.3)
CHOPIN / Classical General, Classical Period Romantic		Kevin Hadsell After Chopins Op. 25 No. 3 etude and hardly distinguishable from the original, this requires maximum flexability with careful fingering. Godowsky maximizes use of voicing and balance of sound. One of the more difficult of the left hand studies.
Study No.31 in A- (Chopin Op.25 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 4 etude and written for left hand alone, this utilizes both accompaniment and melody sustained with just one hand, requiring frequent fingering changes. The thumb takes charge of the melody, but becomes secondary with the arpeggiated ending, where melody shifts from place to place, taking absolute control to sustain balance. This shows the most difficult piece does not necessarily contain the greatest amount of notes.
Study No.32 in F- (Chopin Op.25 No.4)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 4 etude, Godowsky takes the piece through an entire metamorphosis and contrast of rhythm, contrasting harmonies and voices, and representing a colossal polonaise. What a brilliant theme to build on with more material to work with than first imagined. Godowsky steps up the challange, where one would even forget this was an Etude in its genesis.
Study No.33 in E- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude, Godowsky shifts the melody between hands, moving constantly through interwoven textures that are so rich, one could dine on them. This is a true masterpiece in polyphonic textures and counter/parallel harmonies.
Study No.34 in C#- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude and written in the form of a mazurka, this takes on an entirely different character, making the most of Chopins original melody and spirit of the piece. This also has the dance-like quality of the original waltz time with embellishments added to compliment a scherzo-like quality.
Study No.35 in Bb- (Chopin Op.25 No.5)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 5 etude and transposed to the darker key of B flat minor for one hand, this tends to make the texture sound much richer. This transciption has a more astere and macabre-like tenure, taking us through the melodic middle section with shifting accents on the melody and arpeggiated accompaniment.
Study No.36 in G#- (Chopin Op.25 No.6)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 6 etude, Godowsky simply places the right hand pattern in the left hand, giving the etheral sound when combined with upper harmonic triads and octaves. He grandly sweeps down woth thirds on both hands, giving the player plenty to occupy mind and faculties.
Study No.38 in Db (Chopin Op.25 No.8)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 8 etude, this is a note-by-note transciption from right hand to left hand, with the exception of some chordal areas to add harmonic richness. Godowsky offers a complementary dessert of harmonies to a rich dinner of sixths.
Study No.28-2 in F- (Chopin Op.25 No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 2 etude, this represents a note-for-note translation from Chopins right hand single notes to Godowskys octaves. Legend says Liszt could play the octaves as fast as single notes according to those who heard him. Godowsky takes this a step further by adding minor sixths in the left hand coupled in chromatic interwoven harmonies, casting an etherial effect upon the listener.
Study No.39 in Gb (Chopin Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 9 etude, Godowsky transfers the right hand configuration to the left hand. This is complimented with right hand octaves and major sixth accompaniment.
Study No.40 in Gb (Chopin Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 9 etude and written for left hand alone, Godowsky primarily shifts the melody to the top voice, with contrasting chromatic harmonies and a single bass note accompaniment. This is a true etude in jumps and voicing. The general mood of the piece is deliverable at a faster tempo, as taken here; otherwise, the spirit of the piece is lost.
Study No.41 in B- (Chopin Op.25 No.10)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 10 etude and written for left hand alone, this etude has a solid base note as accented accompaniment while playing chromatic single notes and triads ascending and descending.
Study No.42 in A- (Chopin Op.25 No.11)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 25 No. 11 etude. How could this be an Etude of an Etude you might ask? First things first. Godwsky changes the sixteenths from the right hand to the left. Then he adds full octave acompaniment in the right hand, which has large jumps after the main theme introduction. Then octaves are added when single notes would not suffice, giving the piece an orchestral quality throughout. This is further frustrated when the melody moves in and out of these orchestral configuations.
Study No.43 in C#- (Chopin Op.25 No.12)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopin Etude Opus 25, No. 12 and written for left hand alone, this time one takes on the full structures of three note triads, jumping about like a wild stampede of northwestern buffalo. This is not merely a wave of the ocean, but a cataclism of Noahs flood itself, raining down all of heavens omnipotent power.
Study No.44 in F- (Chopin Nouvelle No.1)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode de Moscheles et Fetis No. 1 and written for left hand alone, this is a study in arpeggios coupled with rhythmic accents at various times. The primary difficulty lies in the voicing combined with wide, complex movements. Godowsky changes the three against four notation to a straight four-note rhythm, shifting accents where needed.
Study No.45 in E (Chopin Nouvelle No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode de Moscheles et Fetis, No. 2, this is an etude of rhythms on Chopins etude in rhythms, an etude for the mind! It is a very complex patterrn of contrasting rhythms combined with very delicately interwoven harmonic textures.
Study No.45a in Ab (Chopin Nouvelle No.2)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude from Methode De Moscheles et Fetis and written for left hand alone, this etude incorporates accompaniment, contrary rythms and contrasting harmonies. The beauty of this work is found in the combination of complexity and simplicity.
Study No.47 in Gb (Chopin Op.10 No.5 & Op.25 No.9)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 5 AND Op. 25 No. 9 etudes. It takes genius to imagine combining two etudes together.
Study No.46 in G (Chopin Nouvelle No.3)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Etude No. 3 from Methode de Mosceles et Fetis, this etude is a study in legato and staccato configurations. It has the sound of four hands that incorporate extreme control in touch and changing in fingering, keeping pedaling to a minimum. During no time in the piece can this challenge be compromised, or the piece loses its entire character.
Study No.48 in F (Chopin Op.10 No.11 & Op.25 No.3)
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell After Chopins Op. 10 No. 11 etude and Op. 25 No. 3 etude, here two etudes of an entirely different character join forces. This incorporates widespread arpeggios with single-note trills alternating between hands at different times, making a smooth melodic line difficult to mantain.
Waltz Op.34 No.1 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell A Waltz in the grand style, thus titled "Grande Valse Brillante". This Waltz has widely changing moods in a rich texture of A-flat major, the dominant key in most of the waltzes. The ending almost loses its waltz-like character, but it strongly returns to bring the piece to a grand finale.
Waltz Op.34 No.2 in A-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell Certainly the most lyrical of all the waltzes, this is written in the serene key of A minor. Chopin takes advantage of the bittersweet implications of minor and major together, especially in the climax (prior to the somber closing of A minor).
Waltz Op.42 in Ab
CHOPIN / Classical General, Classical Waltz		Kevin Hadsell This could be titiled the "Hemiola Waltz", with its play on rhythm in the main theme. This piece has it all: a rolling, lyrical opening, a suspenseful and suprising middle theme, a nocturne-like interlude with a climactic closing comprised of a burst of notes, making up a very suprising omega.
Waltz Op.64 No.1 in Db (
CHOPIN / Classical Experimental, Classical Waltz		Kevin Hadsell Subtitled the "Minute Waltz" and certainly the most popular of all his waltzes, it is written in very simple form, and it is very accessible for both the listener as well as player. The beauty of this work lies in its unpretentious manner and innocence.
Waltz Op.64 No.2 in C#-
CHOPIN / Classical Electronic, Classical Waltz		Kevin Hadsell Perhaps Chopins greatest Waltz, the sweetness of the sixths sing forth throughout the piece, with a key change to D-flat in the middle section, sounding as much like a nocturne as a waltz. The piece closes with the second theme ending as gracefully as it began.
Waltz Op.64 No.3 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell This waltz is primarily written in a chromatic style, with a lyric interlude in C major.
Waltz Op.69 No.1 in Ab
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell One can hardly believe this piece would be in a major key, being so melancholy and serene. Definitely one of Chopins deepest waltzes, it contains a contrasting style in the C major section, finally returning to the sober ending.
Waltz Op.69 No.2 in B-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell One of Chopins more simply stuctured waltzes, this shift moods from minor to major with a joyful D major section (leading back to the minor). This is followed by the B Major section, sounding as if a ballerina pirouetted back to the minor to close with the opening theme.
Waltz Op.70 No.1 in Gb
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell The shortest of all the Waltzes, this playful piece takes on wings of flight, settling down to rest in the lyric middle section. Once again the bird takes flight never to rest to the origin from which it came.
Waltz Op.70 No.2 in F-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell Who could say more with so few notes? This simple waltz is so profound, relying on only two or three simple themes blended sumblimely. It is wonderful depth combined with inner sadness.
Waltz Op.70 No.3 in Db
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell This waltz is full of wandering melodies singing sweetly between soprano and alto. The bass finally has its solo in the middle section, pulling at the heartstrings in B flat minor, returning to the familiar A-flat heard once again to resolve in pure happiness.
Waltz Op.Posth. in E-
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell A grand, sweeping waltz with climactic arpeggios in the middle, sandwitched between the beginning and end. This waltz is light and dark at the same time - it is a sad waltz that pretends to be happy.
Ecossaise Op.72
CHOPIN / Classical Waltz, Classical Period Romantic		Kevin Hadsell Written in three parts, this piece is truly a delight, uplifiting and spirited throughout. Chopin uses a variety of ornamentations to embellish the already-animated character gnomes would be delighted to dance to. This piece represents three moods - happy, suspenseful and delightful, with nothing overstated, maintaining the true character of an Ecossiase.
Fantasie-Impromptu Op.66
CHOPIN / Classical Electronic, Classical Period Romantic		Kevin Hadsell One of Chopins most popular pieces, the Fastasie-Impromptu is composed of sheer genius, sounding much more difficult than it is to play. The piece uses a three-against-four pattern, giving the piece more animation, especially at slower tempos with the lyric D-flat section to follow, having a Nocturne-like character. The main theme is then reintroduced, ending quietly with a soothing finish to a tumultuous beginning.
Berceuse Op.57
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell Written much like a nocturne in form, Chopin uses a mesmerizing left hand pattern thoughout, creating a hypnotic effect. The right hand takes total domination, maintaining balance against the left. This piece has a gentle but enduring character that is the balm for an aching soul and sprit. This piece reaches deep into the recesses of tranquility and serenity.
Tarantella Op.43
CHOPIN / Classical Period Romantic, Classical Piano		Kevin Hadsell A fast spider dance indeed, this piece speaks of a dance of the spider itself, moving to seek its prey until the finale, where all bow before it in conquered submission.
Prelude Op.23 No.1 in F#-
RACHMANINOV / Classical, Classical Period Romantic		Kevin Hadsell Perhaps one of the simplest melodies in all of Romantic repetoire, the accompaniment plays the major role here, with long melodic lines and shifting prisms. The sustained qualties hypnotize the listener thoughout, being silenced with the majestic call of echos to bring the piece to a sustaining close.
Prelude Op.23 No.2 in Bb
RACHMANINOV / Classical General, Classical Period Romantic		Kevin Hadsell Certainly one of the most difficult of the preludes, this could have easily been an etude. This piece is in the most grand style, with large chords, sweeping arpeggios and a melody interwoven in the most intricate manner. This majestic and stately piece is very easy to listen to, even upon first hearing. The piece is marked Maestoso, and it certainly fits the mark. One of Rachmaninovs greatest early compositions, it explores the possibilities of the pianos sonorities.
Prelude Op.23 No.3 in D-
RACHMANINOV / Classical Electronic, Classical March		Kevin Hadsell Rachmaninov uses a very rich texture of harmonies and counter harmonies. This even resembles a march in many areas, with strong rhythmic accents throughout. The middle section is very amimated with the return to the opening theme. This follows with a slow, melodramatic section before the march returns to the coda.
Prelude Op.23 No.5 in G-
RACHMANINOV / Classical Military, Classical Period Romantic		Kevin Hadsell This is truly a work of genius that could have easily been the Russian national anthem. Using the simple broken chord of G minor, Rachmaninov turns the simple into the sublime, with an angelic middle section to usher back the march of madness, dissipating quietly as a post war battle.
Prelude Op.23 No.6 in Eb
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This piece ends more surely than it begins, and the piece takes a while to gain its momentum, as if written on a Sunday morning, with all that such a day of inactivity can bring, proving that doing nothing does more than anything.
Prelude Op.23 No.7 in C-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This prelude runs like the wind and has the tumult of a whirlwind. The melody transcends between hands, shifting in and out of the storm like a giant tornado and settling down in the aftermath, with one final gust of the hurricane engulfing the beholder.
Prelude Op.23 No.8 in Ab
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell Written more to be an etude than a prelude, this could be called a etude in the romantic and lyric style, cantabile thoughout. Rachmaninov uses voicing between the hands effectively for a three-handed effect, especially in the middle section with the sustained tenor voice. This piece is difficult to carry out its lyrical qualites with the relentless perpetual movement of the right hand. It ends quietly with a beautiful cascade of closing chords.
Prelude Op.23 No.9 in Eb-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell Written in the dark key of E-flat minor, this could represent the sound of the hummingbird flying wildly moving to and fro searching for its rest in high places. The piece has a mezmerizing whipser cast upon the shadow of darkness, willowing to the end in dissipation, where the bird finding rest needs not again to take flight.
Prelude Op.23 No.10 in Gb
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell A great ending to the Opus 23 set. Here Rachmaninov is at his deepest and most profound reflection. A full tapestry of rich harmonies, it is evident the composer was a great lover of nature and life. This speaks of his deepest experiences from his early days in Russia and early attempts at his first symphony, which stayed with him his entire life. Here the piece reaches full symphonic harmony and sonority, being seldom sustained by one player or instrument.
Moment Musical Op.16 No.1 in Bb-
RACHMANINOV / Classical, Classical Period Romantic		Kevin Hadsell A Nocturne of gigantic proportions, with the drama of the climactic middle section. Here a simple two-on-three pattern is used, followed by a 7/8 meter in the latter beginning. This builds to a cadenza, leading to the dramatic and lyric middle section. This ushers in the previous 7/8 meter, melting into the coda of calm tragedy and sadness of the composers youth.
Moment Musical Op.16 No.2 in Eb-
RACHMANINOV / Classical General, Classical Period Romantic		Kevin Hadsell This piece is like cascading waves of glory and sadness, sweeping in grandeur and triumph. The melody is shared by both faculties, excepting the middle section. The coda ends much like the beginning, with a soothing softness of simplicity.
Moment Musical Op.16 No.3 in B-
RACHMANINOV / Classical Electronic, Classical Period Romantic		Kevin Hadsell A piece in melodic beginnings, this carries a simple theme which is reintroduced two times by climactic rolled chords. A nice octave marchlike section is introduced reducing down to the recurring opening theme. This is closed with a simple single-note voice turning into the minor harmonics.
Moment Musical Op.16 No.5 in Db
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This is a berceuse in the grand romantic style. It toggles between major and minor, especially in the closing phrase. A small burst of sunshine comes forth in A major, but it is eventually subdued by serenity.
Moment Musical Op.16 No.6 in C
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell An etude in C major. The suggestions of the piece say "orchestral!". Half pedaling or sostenuto would be needed but not practical here. The composer interlocks melody with accompaniment, making this impossible, it would seem for the player. One would draw upon the necessity of drama to off set the demand of a thirty-second notes jumps, creating or even hiding the difficulty. This is every bit as difficult to play as it sounds, drawing upon the energy, reason and physical prowess of the performer. The theme is introduced several times, being more violent each time; one had better save enough gas in the tank for a climax to close the piece without apology.
Piece Op.3 No.1 - Elegie in Eb-
RACHMANINOV / Classical, Classical Period Romantic		Kevin Hadsell A piece written on the wings of ecstasy, this work is in the grand style of romanticism. The piece has a very dark mood with a contrasting middle section, with its mesmorizing eloquence and animated sprit, finally ushering back the macabre-like nature of the ending.
Piece Op.3 No.2 - Prelude in C#-
RACHMANINOV / Classical General, Classical Period Romantic		Kevin Hadsell This piece is the most popular piece the composer ever wrote, much to his regret later. He confided to a friend after a concert that he was sorry he ever wrote it. This is not so much a reflection of the piece itself but rather the composers fatigue upon hearing it at almost every concert as an encore piece. This has been nicknamed the "Bells of Moscow" by some, since the opening and ending sound like a giant gong resounding forth across the vastness of Moscow. The music is easy to grasp upon first hearing and is a great first concert piece for any young aspiring student on the road to advancement. The piece has a sinister hypnotic effect, finally waking up the one being hypnotized with the return theme being marked as loud as humanly possible within the limits of the piano. The bells ring forth one last time in the end, dying away until the silence that always was makes its final resonance.
Piece Op.3 No.3 - Melodie in E
RACHMANINOV / Classical Electronic, Classical Period Romantic		Kevin Hadsell This piece speaks in easy simplicity and moving moods, shifting like prisms in the rainbow after a rain. So lyrical and easy in mood, a great encore, it speaks good intentions and sense of well being.
Piece Op.3 No.4 - Polichinelle in F#-
RACHMANINOV / Classical Experimental, Classical Period Romantic		Kevin Hadsell Polichinelle in F-sharp minor - If Rachmaninov ever illustrated moving animation, this piece would certinly demonstate it in the truest sense. It is full of suspense and contains a lyric middle section with doubling voices in the harmony. The piece comes back to the opening theme, with full contrast of color and excitement. A true piece of demonic virtousity!
Piece Op.3 No.5 - Serenade in Bb-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell Truly a masterful piece of retrospect and improvisational mood, this piece has a bittersweet quality and a dance like setting. The melody is straightforward and beautiful in simplicity, with melancholy and serene qualities. This truly sings directly to the heart, and it is a most justified choice to close out this great early set of pieces. A paragon of Rachmaninovs early genuis.
Prelude Op.32 No.1 in C
RACHMANINOV / Classical, Classical Period Romantic		Kevin Hadsell A great introductory piece that seems to start itself. This little cascading prelude is even more difficult than it sounds. The closing chord almost reminds one of his famous Prelude in C-sharp minor.
Prelude Op.32 No.2 in Bb-
RACHMANINOV / Classical General, Classical Period Romantic		Kevin Hadsell This Nocturne-like prelude is very austere and carries a steady rhythm throughout but keeps its lyrical quality throughout. The piece changes mood very gradually, ending in a surprising coda that is like a scherzo.
Prelude Op.32 No.3 in E
RACHMANINOV / Classical Electronic, Classical Period Romantic		Kevin Hadsell A powerful and happy-spirited piece throughout. The passagework sounds Bach-like and almost fugal in quality. Modern Bach may not be a stretch in an accurate description for this haughty but playful prelude.
Prelude Op.32 No.4 in E-
RACHMANINOV / Classical Experimental, Classical Period Romantic		Kevin Hadsell This is, aside from the Prelude in D-flat from the same set, the most colossal of the set. It opens very strongly with a choral motif and continually develops to demonic proportions in the later middle section, only tamed temporarily by the lyric interlude preceding it.
Prelude Op.32 No.5 in G
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell One of the more popular of the set and very pianistic, Rachmaninov masterly sets minor against major to usher in a long melodic singing line throughout. This leaves a bittersweet quality with no aftertaste. This could have easily been a berceuse since the cantabile line burns bright throughout, being extinguished only by the fluttering of a trill to end sweetly in G major.
Prelude Op.32 No.6 in F-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell The introduction seems almost without a melody at all, being introduced a third though the piece. This demonstrates as long a cantabile style as number five but in the allegro style, sheer genius! This piece clearly shows the use of chromatic voices and shifting accents, keeping the spirit of the piece fully intact and within the qualities of the prelude style.
Prelude Op.32 No.7 in F
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This could be an etude on voicing and balancing of contrasting ideas. This takes on a singing quality toward the end, with the staccato opening winnowing the listener back to dancelike spirit.
Preludes Op.32 No.8 in A-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell A devilish dance with witty humor and playful sarcasm. This piece uses very simple cascading intervals off a single note E, as well as counter melodies and harmonic changes, shifting like a prism, fluttering out with a burst!
Prelude Op.32 No.9 in A-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell A piece without resolution, this would be a study in the intervals of 2nds which leaves the listener guessing throughout. Where will the journey end? This gives the piece a sustained suspense, building the storm to a violent end, with parting clouds leaving pleasant chords singing in brightness.
Prelude Op.32 No.10 in B-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell A concerto quality piece in the grandiose style. Perhaps the deepest of all the preludes, a song of sorrow and tragedy in one. Surely this is a reflection of Rachmaninovs deep roots of early experiences coming to surface. This is for the emotionally mature and places as much demand on the listener as the player.
Prelude Op.32 No.11 in B
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This short interlude or prelude is well placed after its predecessor. It maintains its pleasantness with no mood changes. This has true depth but lies beneath the surface, with a happy serenity!
Prelude Op.32 No.12 in G#-
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell Probably the most popular of the set and very accessible for the early advances artist. It is the best encore of the set, used by Horowitz on many occasions. This simple opening continues a wonderful development growing deeper and deeper. This tapers off with a surprising ending as simple as the beginning.
Prelude Op.32 No.13 in Db
RACHMANINOV / Classical Period Romantic, Classical Piano		Kevin Hadsell This sounds like the cadenza of a colossal concerto only Rachmaninov could muster! This opens with simple chords, which will be introduced again with the power of angelic fervor. This middle section builds and builds to galactic proportions that one can hardly believe. The theme is a mighty foundation of strength and power�well laid out. This continues until the birth of a new star shining forth the coda. Bravo!
Studies Op.740
CZERNY / Classical, Classical Period Romantic		Kevin Hadsell "Action of the fingers, the hand quiet"
Study Op.740 No.2 in G
CZERNY / Classical General, Classical Period Romantic		Kevin Hadsell "The passing under of the thumb"
Study Op.740 No.3 in D
CZERNY / Classical Electronic, Classical Period Romantic		Kevin Hadsell "Clearness in rapidity"
Study Op.740 No.5 in Eb
CZERNY / Classical Experimental, Classical Period Romantic		Kevin Hadsell "Evenness in double passages"
Study Op.740 No.6 in Ab
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Clearness in broken chords"
Study Op.740 No.7 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Changing the fingers on one and the same key"
Study Op.740 No.8 in A-
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Delicate skips and detached notes"
Study Op.740 No.9 in E
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Delicate skips and detached notes"
Study Op.740 No.1 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Action of the fingers, the hand quiet"
Study Op.740 No.10 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Exercise in thirds"
Study Op.740 No.11 in F
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Readiness in changing Fingers"
Study Op.740 No.12 in D-
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Flexibility of the left hand"
Study Op.740 No.15 in Eb
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Extension, with great strength"
Study Op.740 No.17 in A-
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Scales in rapid tempo"
Study Op.740 No.18 in Ab
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Crossing hands quietly and with delicate touch"
Study Op.740 No.19 in Bb
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Extension, the hand quiet"
Study Op.740 No.20 in G
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Double octaves"
Study Op.740 No.21 in D
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Same movement in each hand"
Study Op.740 No.23 in E
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Light touch in the fingers of left hand"
Study Op.740 No.24 in Ab
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "The thumb on the black keys"
Study Op.740 No.25 in Db
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Clearness in running passages"
Study Op.740 No.27 in D
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Independence of the fingers"
Study Op.740 No.28 in B-
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "A quiet hand, the fingers active to the utmost"
Study Op.740 No.29 in D
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Mordent exercise"
Study Op.740 No.30 in F
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "To acquire a firm touch"
Study Op.740 No.32 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Uniformity in raising the fingers"
Study Op.740 No.33 in Ab
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Octave skips with a light hand"
Study Op.740 No.34 in C
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Trills in thirds"
Study Op.740 No.36 in A
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Light arm, the fingers flexible"
Study Op.740 No.37 in D
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Clearness in great strength"
Study Op.740 No.38 in Bb
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Uniformity in raising the hands"
Study Op.740 No.39 in G
CZERNY / Classical, Classical Period Romantic		Kevin Hadsell "Exercise in thirds"
Study Op.740 No.40 in C
CZERNY / Classical General, Classical Period Romantic		Kevin Hadsell "Light breaking off or detaching chords"
Study Op.740 No.41 in A-
CZERNY / Classical Electronic, Classical Period Romantic		Kevin Hadsell "Action of the fingers of the left hand"
Study Op.740 No.42 in F
CZERNY / Classical Experimental, Classical Period Romantic		Kevin Hadsell "Double mordent exercise"
Study Op.740 No.43 in D
/ Classical Period Romantic, Classical Piano		Kevin Hadsell "Skill in passing under of the thumb"
Study Op.740 No.44 in G
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "The lightest touch, the fingers exerted to the utmost"
Study Op.740 No.45 in Ab
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Legato melody with broken chords"
Study Op.740 No.46 in F
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Bravura in touch and action"
Study Op.740 No.47 in Gb
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Delicate and distinct touch in broken chords"
Study Op.740 No.49 in G
CZERNY / Classical Period Romantic, Classical Piano		Kevin Hadsell "Octaves bravura"
Johannes Brahms - Sonata D minor, op. 108/ LIVE
BRAHMS / Classical Period Romantic,		Volodja Balzalorsky - violinist LIVE in Vienna, at Boesendorfer Hall (03/07/1996). Copy right: Volodja Balzalorsky and Christoph Theiler
Sonata No.3, Op.58 (4th mov.)
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on March 15th, 1988 in Kyoto, Japan
My Hemingway
NASH, Ellen-Cathryn (1971); American / Classical Period Romantic,		Elle Composed for Christopher Laro.
Nocturne Op.9-No.2
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on April 4th, 1995 at Town Hall in New York City.
Sonata No.3, Op.58 (1st mov.)
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on October 30th, 1992 in New York City.
Sonata No.3, Op.58 (2nd mov.)
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on March 15th, 1988 in Kyoto, Japan
Sonata No.3, Op.58 (3rd mov.)
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on March 15th,1988 in Kyoto, Japan
Fantaisie-Impromptu Op.66
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on April 4th, 1995 at Town Hall in New York City. There is Yoshie Kubota's original arrangement part contained in the performance. � � �
Etude Op.10-No.5 "Black Keys"
CHOPIN / Classical Period Romantic,		Yoshie Kubota This recordig is a live performance at 10th "Robert Casadesus International Piano Competition" in Cleveland, OHAIO on August 9th, 1993
Valse Op.64-No.2
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded at Home on March 15th, 2001 in New York City.
Nocturne Op.62-No.1
CHOPIN / Classical Period Romantic,		Yoshie Kubota Recorded on October 2nd, 1992 in New York City.

Classical Period Romantic