| Carl Friedrich Abel (1723-1787) Piano Trio in C Major, Op.9 No.2 |
Historically important set of 6 trio sonatas which served as models for Haydn & Mozart. Good cello part. |
| Joseph Achron (1886-1943) Prelude for Violin and Piano, Op.13 |
Composed while still a student at the St Petersburg Conservatory, his composition teacher Anatoly Liadov thought it a superb work |
| Joseph Achron (1886-1943) Coquetterie for Violin and Piano, Op.15 No.2 |
An appealing trifle which makes a lovely encore. Dedicated to his violin teacher, Leopold Auer. |
| Joseph Achron (1886-1943) Les Sylphides for Violin and Piano, Op.18 |
A sparkling work with two lively outer sections and a lyrical middle. Great recital pieces or encore. |
| Joseph Achron (1886-1943) Hebrew Melody for Violin and Piano, Op.33 |
Inspired by Jewish Folk Music and often performed by Heifetz who championed this emotive work. |
| Joseph Achron (1886-1943) Hebrew Dance Violin and Piano, Op.35 No.1 |
A virtuosic rhapsody based on a Jewish folk melody, one of many discovered by the St Petersburg Society for Jewish Folk Music. |
| Joseph Achron (1886-1943) Hebrew Lullaby for Violin and Piano, Op.35 No.2 |
Creates a new Jewish style combining traditional elements to create a moody evocative work. |
| Joseph Achron (1886-1943) Dance Improvisation for Violin and Piano, Op.37 |
Based on a Hebrew folksong transcribed by Achron, this show pieces gives an example of how a virtuoso might improvise. |
| Joseph Achron (1886-1943) Scher, A Hebrew Dance for Violin & Piano, Op.42 |
Based on an original Jewish Klezmer folk melody from a famous collection made by Russian ethnologists. Fine short work or encore. |
| Joseph Achron (1886-1943) M�rchen for Violin and Piano, Op.46 |
A Jewish fairytale. The heavily ornamented violin part with its rhapsodic cadenza conveys the singing of a synagogue cantor. |
| Joseph Achron (1886-1943) Canzonetta for Violin or Cello and Piano, Op.52 No.2 |
An emotive work which Achron originally wrote as a Lied based on a poem by a Hebrew Poet. |
| Joseph Achron (1886-1943) Kindersuite for Clarinet, String Quartet & Piano, Op.57 |
Like Schumann's Kinderszenen, Achron's beautifully evokes the moods, games and scenes of childhood. |
| Nikolai Afanasiev (1821-1898) Prize Winning String Quartet "The Volga" |
Full of beautiful Russian folk melody, highly evocative of the life of the Volga boatmen. Well-written, grateful parts for all |
| Nikolai Afanasiev (1821-1898) Double Quartet in D Major "Housewarming" (1875) |
FOne of the few, perhaps the only double quartet not written by Spohr. Russian through and through. A superb work in every way.all |
| Olof �hlstr�m (1756-1835) Violin Sonata No.3 in d minor, Op.2 No.3 |
Historically important example of a late 18th Swedish violin sonata & a good candidate for the recital hall. Not difficult |
| Leopold Aimon (1779-1866) String Quartet No.1 in f minor, WoO1 (1813) |
The 1st from his famous collection of 12 Late classical & early romantic. Good for concert as well as amateurs |
| Leopold Aimon (1779-1866) String Quartet No.3 in g minor, WoO3 (1913) |
The third quartet from this series. Attractive Viennese type melodies & easy to play. |
| Leopold Aimon (1779-1866) String Quartet in C Major, Op.45 No.2 |
His music was once known and enjoyed as far away as Vienna by the likes of Beethoven who donated money to help get the qt published. |
| Leopold Aimon (1779-1866) String Quartet in d minor, Op.49 |
Not at all hard to play and an excellent choice for amateurs looking for an appealing work to present. |
| Feodor Akimenko (1876-1945) Petite Ballade for Clarinet & Piano, Op.19 |
A dreamy, emotive work showing some influence of the French impressionists. |
| Feodor Akimenko (1876-1945) Cantabile for Violin & Piano, Op.31 No.1 |
Darkly tinged and melancholy, but very lyrical, this is a fine evocative shorter work for recital of the late Romantic Russian eral. |
| Feodor Akimenko (1876-1945) Three Pieces for Violin & Piano (1912) |
All 3---Valse, Doux R�ve & Danse Rustique can be played where a short work is required or together in place of a sonata. |
| Feodor Akimenko (1876-1945) Violin Sonata No.1 in d minor, Op.32 |
Dedicated to Eugene Ysaye & gold medal winner at the1900 Paris Exposition, combines Russian folk music with French impressionism |
| Feodor Akimenko (1876-1945) Violin Sonata No.2 in G Major, Op.38b |
Written two years after his first sonata, this one also combines Russian thematic material with French impressionism. Good choice for recital |
| Feodor Akimenko (1876-1945) String Trio in c minor, Op.7 |
An extraordinary work for this ensemble. A masterwork which deserves to be heard in concert |
| Isaac Albeniz (1860-1909) Tango in D for Piano Trio or String Qt or Vln & Pno from Espa�a, Op.165 |
The famous Tango in three very effective arrangements for either piano trio, string quartet or violin and Piano. Excellent encore piece. |
| Isaac Albeniz (1860-1909) Asturias from Suite Espa�ola No.1 for String Quartet |
This evocative work for the piano, but better known as a transcription for guitar is equally as effective for quartet |
| Isaac Albeniz (1860-1909) Cadiz from Suite Espa�ola No.1 for String Quartet |
Subtitled Saeta, a mournful Spanish religous song from Flamenco music. Originally for piano, but effective guitar as well as quartet |
| Isaac Albeniz (1860-1909) Catalonia from Suite Espa�ola No.1 for String Quartet |
Subtitled Curranda, courtante in Italian, the music conveys the mood of a stately ancient dance of the Catalan province. |
| Isaac Albeniz (1860-1909) Cordoba from Cantos de Espa�a for String Quartet |
Cordoba, sacred city to the Catholics and the Moors, the music combines these elements into an evocative work |
| Isaac Albeniz (1860-1909) Mallorca, Op.202 for String Quartet |
Here the music conveys the calm and gentle sounds of the Mediterranean sea by which the isalnd of Mallorca is surrounded. |
| Isaac Albeniz (1860-1909) Sevilla from Suite Espa�ola No.1 for String Quartet |
Originally for piano, the transcription for string quartet of this lively and evocative dance is as good as the original |
| Eugen d'Albert (1864-1932) String Quartet No.1 in a minor, Op.7 |
Brahms & Hanslick were astounded a 23 year old could write such a mature master quartet. Hear the soundbites. |
| Eugen d'Albert (1864-1932) String Quartet No.2 in E flat Major, Op.11 |
Dedicated to Brahms with his approval, this is a rich, late romantic work with many original ideas. |
| Johann Georg Albrectsberger (1736-1809) String Trio in C Major, Op.9 No.1 |
An early string trio (most likely 1760's) from the teacher of Beethoven, Hummel, Ries, Moscheles and many more. Historically important |
| Johann Georg Albrectsberger (1736-1809) String Trio in A Major, Op.9 No.2 |
The second of a set of six. Its four movements are an excellent example of the emerging early classical style though still with baroque touches |
| Johann Georg Albrectsberger (1736-1809) String Trio in F Major, Op.9 No.3 |
The third of a set of six. It is in the emerging Mannheim Classical style with three movements, but like the others has some baroque touches |
| Ernest Alder (1853-1905) Themes from the opera Le Cid for Piano Trio |
In the time honored tradition of operatic transcriptions, so fine it can be listened to as pure chamber music. |
| Ernest Alder (1853-1905) Themes from the opera Samson & Dalila for Piano Trio |
From one of the very best arrangers of all time & commisioned by the composer to reach a larger audience |
| Charles-Valentin Alkan (1813-1888) Grand Duo Concertant for Violin & Piano, Op.21 |
An exciting work full of dramatic Beethovian power. Idiosyncratic and original. Makes a strong impression. |
| Charles-Valentin Alkan (1813-1888) Sonata de Concert for Cello or Viola & Piano, Op.47 |
AOne of the most important cello sonatas to appear before in the mid Romantic era. A big, powerful work certainly deserving of a place in the recital hall. |
| Charles-Valentin Alkan (1813-1888) Piano Trio in g minor, Op.30 |
Powerful, dramatic and lyrical. There are quite a number of unique qualities in this attractive mid romantic work. |
| Eyvind Aln�s (1872-1932)) Suite in D Major for 2 Violins & Piano, Op.32 |
An unknown gem, without doubt one of the very best works for this combinations. Great for conert & home. |
| Franz d'Alquen (1804-1877) String Trio in C Major (1849) |
A very popular work with appealing melodies, good part writing & no technical difficulties. Perfect for amateurs. |
| Alexander Alyabiev (1787-1851) Piano Trio in a minor |
Historically important as the most important, & quite possibly, the only example by a Russian from the early romantic era. |
| Alexander Alyabiev (1787-1851) Piano Quintet in E flat Major (1818) |
Another historically important work as perhaps the first example of a quintet for piano & string quartet. In one substantial movement. |
| Alexander Alyabiev (1787-1851) Variations on a Russian Folksong for 2 Violins & Cello |
Based on the Russian Folksong In the garden this is an effective and well-written set of variations. |
| Alexander Alyabiev (1787-1851) String Qt No.3 in G Major "Nightingale" World Premiere |
Among the best, early romantic era (1825) Russian string quartets. The slow movement is based on his famous song The Nightingale. |
| Nikolai Amani (1872-1904) String Trio, Op.1 (1900) |
Winner of the Russian Musical Society's top prize in 1900. It has good part-writing & is suitable for concert or home. |
| Johan Amberg (1846-1928) Suite for Flute, Oboe, Clarinet & Piano (1905) |
Beautifully written for all of the instruments. Catchy melodies. Fun to play and good for the concert hall. |
| Alfredo d'Ambrosio (1871-1914) String Quartet in c minor, Op.42 |
An original sounding work which combines late Central European Romanticism with tinges of French Impressionism. |
| Johann Amon (1763-1825) String Trio No.1 in e minor, Op.8 No.1 |
A tuneful concertante trio which makes no difficult demands on the players. A good choice for amateurs. |
| Johann Amon (1763-1825) String Quartet in B flat Major, Op.113 No.1 |
This pleasant work was dedicated to amateurs looking for an effective quartet to bring to the concert hall. |
| Johann Amon (1763-1825) Quintet No.1 in F Major for Winds & Strings, Op.110 |
Combines the early Romantic with concertante style intended to showcase the horn and the flute. |
| Johann Amon (1763-1825) Quintet No.2 in e minor for Winds & Strings, Op.118 |
Written in the concertante style this is a very attractive work, intended as a vehicle for horn & flute but with good part writing |
| Volkmar Andreae (1879-1962) Piano Trio No.1 in f minor, Op.1 |
A late Romantic masterpiece. Post-Brahmsian, powerful and compelling with excellent part-writing. |
| Volkmar Andreae (1879-1962) Piano Trio No.2 in E flat Major, Op.14 |
Powerful and dramatic, expertly combines elements of French impressionism with late German romanticism. |
| Volkmar Andreae (1879-1962) String Trio in d minor, Op.29 |
An important addition to the string trio literature. Appealing melodies in an early 20th century setting. |
| Volkmar Andreae (1879-1962) String Quartet No.1 in B flat Major, Op.9 |
Fresh and original. A first rate late-romantic-early modern work. Will appeal to pros & amateurs alike. |
| Volkmar Andreae (1879-1962) String Quartet No.2 in E Major, Op.33 |
An attractive early modern work superbly written which belongs in the concert hall but in no way beyond amateurs. |
| Elfrida Andr�e (1841-1929) Piano Trio No.2 in g minor (1884) |
The Chamber Music Journal calls it a first rate work. You would have of heard it had it been written by a man. |
| Elfrida Andr�e (1841-1929) Piano Quintet in e minor |
A fine work in the tradition of Mendelssohn and Schumann. Deserves concert performance. |
| Adam Andrzejowski (1880-1920) Romans for Violin and Piano |
A late Romantic era work by a composer who was concertmaster and director of the Warsaw Philharmonic. Emotive encore work. |
| Conrad Ansorge (1862-1930) Sonata for Cello and Piano, Op.24 |
An extrarodinary work for its time (1909) or any time. A masterwork which makes a very powerful impression. |
| John Antes (1740-1811) 3 String Trios for 2 Violins & Cello, Op.3 |
Surprisingly advanced for the time (1775). Unlike Haydn or Mozart from this period, the cello is an equal of the violins |
| Georges Antoine (1892-1918) Sonata for Violin & Piano in A flat Major, Op.3 |
A dramatic, powerful and at times almost violient work, interspersed with lyricism In the French impressionist tradition with original touches. |
| Georges Antoine (1892-1918) Piano Quartet in d minor, Op.6 |
Late French impressionist work by a gifted Belgian composer. Engaging and interesting, not technically beyond amateurs as well. |
| Enrique Fernandez Arb�s (1863-1939) Tres Piezas Originales en Estilo Espa�ol for Piano Trio |
Three marvelous Spanish dances: a bolero, a habanera and a dance on gypsy themes. Very atmospheric. |
| Anton Arensky (1861-1906) Quatre Morceaux for Violin & Piano, Op.30 |
Four very effective and finely contrasting pieces, together the length of a typical sonata, make an excellent recital choice |
| Anton Arensky (1861-1906) Petite Ballade for Cello and Piano, Op.Op.12 No.1 |
The first of 2 pieces dedicated to Carl Davidov. A true recital work designed to show off the cellist's technique. |
| Anton Arensky (1861-1906) Danse Capricieuse for Cello and Piano, Op.Op.12 No.2 |
The first of two pieces dedicated to the famous virtuoso Carl Davidov. A beautiful romance. |
| Anton Arensky (1861-1906) Three Pieces for Cello and Piano, Op.56 |
Three lovely character pieces which take full advantage of the cello's singing qualities. |
| Anton Arensky (1861-1906) Piano Trio No.1 in d minor, Op.32 |
Unquestionably a masterpiece of the romantic trio literature. It has it all, wonderful melodies and part writing |
| Anton Arensky (1861-1906) Piano Trio No.2 in f minor, Op.32 |
A fine work, much like his First Trio. Tuneful, good part-writing, showing the influence of his mentor Tchaikovsky |
| Anton Arensky (1861-1906) Piano Quintet in D Major, Op.51 |
Hailed by critics as a masterwork from the composer's late period. A very effective, stunning work. |
| Anton Arensky (1861-1906) String Quartet No.1 in G Major, Op.11 |
Light, bright and charming, it concludes with an outstanding set of variations on a Russian theme. |
| Anton Arensky (1861-1906) String Quartet No.2 in a minor, Op.35/35a |
Dedicated to the memory of Tchaikovsky and show his influence. This is a 1st rate very Russian sounding work. |
| Carl Arnold (1861-1906) Piano Sextet in f minor, Op.23 |
Dating from 1823, this is one of the earliest such works pre-dating Mendelsson. In the Beethovian tradition. |
| Juan Crististomo Arriaga (1806-1826) String Quartet No.1 in d minor |
Hugely talented and known as the "Spanish Mozart", this is the most Spanish of his three string quartets. |
| Juan Crististomo Arriaga (1806-1826) String Quartet No.2 in A Major |
His gift for lovely melodies is apparent from the bravura theme of the opening movement. |
| Juan Crististomo Arriaga (1806-1826) String Quartet No.3 in E flat Major |
Shows how well he understood the Vienna Classical composers but adds his own original ideas and themes. |
| Algernon Ashton (1859-1937)) Arioso for Cello and Piano, Op.43 |
Fine writing for both instruments. A good recital choice where a short work is required. |
| Franz Asplmayr (1728-1786) String Quartet in D Major, Op.2 No.2 |
An historically important work from one of the leading composers of the early Vienna Classical Period. |
| Franz Asplmayr (1728-1786) String Quartet in D Major, Op.2 No.4 |
The 4th quartet from the 1760s which shows the newly emerging Classical Viennese style. It features many surprises for the time |
| Kurt Atterberg (1887-1974) String Quartet No.2 in b minor, Op.11 |
A powerful very late (1916) Romantic work pushing the boundaries of traditional tonality to new limits. |
| Kurt Atterberg (1887-1974) String Quartet No.3 in D Major |
Begun 7 years before No.2 but not completed until 1937, this is a first class work, full of lovely melodies, frenetic energy. Compelling work. |
| Valborg Aulin (1860-1928)) String Quartet No.1 in F Major (1884) |
This is a work which surely would have received concert performance had it been by a man. A solid work good for amateurs and pros. |
| Valborg Aulin (1860-1928)) String Quartet No.2 in e minor, Op.17 |
This is another solid work which is good to hear and not at all difficult to perform. |
| Ernest Austin (1887-1974) Piano Trio No.4, Op.26 |
A charming late Romantic, post Brahmsian work. Tonally appealing, and easy to play. A good choice for amateurs to perform. |
| Arno Babajanian (1921-1983) Violin Sonata in b flat minor (1959) |
A massive, powerful work which unquestionably belongs in the repetoire where it already is in Russia |
| Arno Babajanian (1921-1983) Piano Trio in f# minor (1952) |
One of the most important piano trios of the 20th century. Full of drama, memorable melodies & interesting rhythms. |
| Arno Babajanian (1921-1983) String Quartet No.3 'In Memory of Shostakovich' (1976) |
Composed shortly after the death of his friend, the famous Russian composer. Though very modern, still uses Armenian folk harmonies. |
| Carl Philipp Emanuel Bach (1714-1788) Quartet in a minor for Flute or Violin, Viola, Cello & Piano |
Composed in the year of his death, this work provides and excellent example of this once famous composer's late style. |
| Johann Sebastian Bach (1685-1750)) 15 Terzetti for Violin, Viola, & Cello, BWV. 787-801 |
Probably the best arrangement ever made of Bach's Three Part Inventions by Richard Hofmann, prominent composer & teacher. |
| Johann Sebastian Bach (1685-1750)) Goldberg Variations for Violin, Viola, & Cello, BWV. 988 |
There have been other arrangements but ours is based on the authoritative Bach Society Edition by B & H. |
| Edward Bache (1833-1858) Piano Trio in d minor, Op.25 |
This wonderful work is like having another Mendelssohn Piano Trio on your stand to play. |
| Heinrich Baermann (1784-1847) Clarinet Quintet No.3 in E flat Major, Op.23 |
A tuneful work with a very lovely Adagio once thought to have been composed by Wagner. His playing inspired Mendlessohn & Weber. |
| Pierre Baillot (1771-1842) String Quartet No.1 in b minor, Op.34 No.1 |
A melodious work which is not hard to play by one France's great violinists. Historically important. |
| Mily Balakirev (1837-1910) Octet for Piano, Winds and Strings |
An early work (1850's) inspired by Glinka from the founder of the Russian Nationalist School of Composition |
| Michael Balfe (1808-1870)) Piano Trio in A Major (1867) |
One of the leading opera composers of the Victorian era writes a trio full of exciting & catch tunes with operatic touches |
| Granville Bantock (1868-1946)) Hamabdil A Hebrew Melody for Cello & Piano (1919) |
Beautifully written for the cello, highly evocative, a work sure to make a deep impression |
| Granville Bantock (1868-1946)) Sonata for Viola & Piano in F Major (1919) |
A big bold post Romantic work. Lyrical and dramatic belongs in the repertoire and the recital hall |
| Joseph Barat (1882-1963) Fantasie Romantique for Clarinet & Piano (1900) |
This lovely work combines elements of French impressionist with the influence of Saint Saens et al. |
| Otto Barblan (1882-1963) String Quartet in D Major, Op.19 |
This appealing string quartet uses Swiss folk music set in a late Romantic idiom. A good work for both concert and home. |
| Woldemar Bargiel (1828-1897) Violin Sonata in f minor, Op.10 |
A recital hall must. Passion & melodrama, occasioned by the nervous breakdown of his mentor & friend Schumann. |
| Woldemar Bargiel (1828-1897) Piano Trio No.1 in F Major, Op.6 |
A dramatic and powerful mid-Romantic Schumannesque piano trio filled with fresh ideas and wonderful melodies. |
| Woldemar Bargiel (1828-1897) Piano Trio No.2 in E flat Major, Op.20 |
Post-Schumann. Fine part-writing, appealing melodies, this is an important mid 19th cent Romantic work. |
| Woldemar Bargiel (1828-1897) Piano Trio No.3 in B flat Major, Op.37 |
Finely crafted. Excellent part-writing, beautiful melodies, first rate all the way. Suitable for amateurs & pros alike |
| Woldemar Bargiel (1828-1897) String Quartet No.3 in a minor, Op.15b |
A fine mid Romantic era work showing the influence of Mendelssohn and Schumann. A good work, fun to play with no difficulties. |
| Woldemar Bargiel (1828-1897) String Quartet No.4 in d minor, Op.47 |
40 years after No.3 Bargiel has left the mid Romantics behind. Interesting work shows the influence of late Beethoven |
| Woldemar Bargiel (1828-1897) String Octet in c minor, Op.15a |
Reminiscent of late Mendelssohn and Schumann. Fine part-writing, effective melodies. A first class work. |
| Adolf Barjansky (1850-1900) String Quartet No.1 in F Major, Op.6 |
A work full of lovely melodies, quite effect and fun to play. No technical difficulties, good for home or concert. |
| Adolf Barjansky (1850-1900) String Quartet No.2 , Op.8 (1894) |
A first rate quartet, powerful and attractive with appealing melodies and good part writing for all. Good choice for pros or amateurs |
| Christian Barnekow (1837-1913) Piano Trio in f sharp minor, Op.1 |
Here is a first rate work by an unknown composer that would be in the repertoire had someone famous penned it |
| John Francis Barnett (1837-1916) String Quartet in d minor, Op.8 |
Mendelssohn and Schumann through the prism of mid Victorian English taste. A convivial work of no technical difficulty. |
| Bela Bartok (1881-1945) Piano Quintet in C Major (1903/rev. 1920) |
An early work combining elements of Brahms, Richard Strauss & French Impressionists. A very appealing work. |
| Vasily Barvinsky (1888-1963) Elegy for String Quartet in g minor (1912) |
Meant as a tribute and memorial to the Mikola Lysenko founder of Ukrainian music who died that year. |
| Vasily Barvinsky (1888-1963) String Quartet in g minor (1941) |
First rate work by a little known Ukrainian composer which would do well in concert & also for amateurs |
| Vasily Barvinsky (1888-1963) Piano Trio in a minor (1910) |
A late Romantic era masterwork which would have entered the repertoire had he been Russian or German. |
| Vasily Barvinsky (1888-1963) Piano Quintet in g minor (1912) |
Another late Romantic era masterwork which makes a great choice for the concert hall as well as amateurs |
| Vasily Barvinsky (1888-1963) Variations for Piano, String Quartet and Bass |
An important Ukrainian work full of folk melodies. Very effective in performance. Excellent concert choice |
| Luigi Bassi (1833-1871) Fantasia on Bellini's I Puritani for Clarinet & Piano |
One Bassi's most popular and beloved opera fantasies as it makes a very fine showcase for clarinet players |
| Luigi Bassi (1833-1871) Fantasia on Verdi's Rigoletto for Clarinet & Piano |
This work, one of the most effective of its type is a showcase par excellence for any fine clarinetist |
| William Bastard (1880-194?) Piano Trio in g minor, Op.3 |
An unknown work by an unknown composer. But, what a fine work! Great melodies & part-writing |
| Waldemar von Baussnern (1866-19317) Serenade for Clarinet, Violin & Piano (1905) |
Excellent part-writing & brilliant use of tone color & timber make this a valuable addition to the repertoire. |
| Waldemar von Baussnern (1866-19317) Quintet in F Major for Piano, Violin, Cello, Clarinet & Horn |
Only one of four such works for this instrumentation that we know of. The writing is highly original and the tone color is stands out. |
| Arnold Bax (1883-1953) Sonata for Viola and Piano (1922) |
A dark, post-impressionist work, alternately filled with mystery, agitation, drama, and serenity & tailored to the viola |
| Arnold Bax (1883-1953) Trio in One Movement for Violin, Viola & Piano, Op.4 |
A magnificent work, one of the best for this combination, a real tour d'force. Superbly written for all three instruments |
| Arnold Bax (1883-1953) Elegiac Trio for Flute, Viola & Harp or Piano (1916) |
Lovely impressionist work for this rarely served trio. Dreamy & reflective but highly evocative. A really fine work. |
| Arnold Bax (1883-1953) String Quartet No.1 in G Major (1918) |
Upbeat and filled with the melodies of the English countryside with good part writing for all voices. |
| Arnold Bax (1883-1953) Piano Quintet in g minor (1915) |
A massive work, overflowing with original ideas and rich material. Excellent choice for concert performance. |
| Antonio Bazzini (1818-1897) String Quartet No.1 in C Major |
This prize winning quartet combines the beauty of Italian lyricism with the structure of German romanticism. |
| Antonio Bazzini (1818-1897) String Quartet No.2 in d minor, Op.75 |
Perhaps the most dramatic of Bazzini's string quartets, yet still strongly lyrical. |
| Antonio Bazzini (1818-1897) String Quartet No.3 in E flat Major, Op.76 |
A fine romantic work combining Italian lyricism with the the influence of Mendelssohn & Schumann. |
| Antonio Bazzini (1818-1897) String Quartet No.4 in G Major, Op.79 |
A warm and pleasant work full of Italian melody and fine writing for all |
| Antonio Bazzini (1818-1897) String Quartet No.5 in c minor, Op.80 |
Bazzini takes the Italian instrumental idiom and creates a first class work in the great European tradition. |
| Antonio Bazzini (1818-1897) String Quintet (2 Cellos) in A Major (1864) |
First Place Prize Winner of the 1865 chamber music competition held by the Milan Quartet Society. Godd for amateurs and concert. |
| Amy (Mrs. H.H.A.) Beach (1867-1944) Romance for Violin & Piano, Op.23 |
Dedicated to the famous American violinist Maud Powell, this lovely work makes an excellent shorter recital piece. |
| Amy (Mrs. H.H.A.) Beach (1867-1944) Violin Sonata in a minor, Op.34 |
Had this not been composed by an American woman but by a European man, this sonata would have entered the standard repertoire. |
| Amy (Mrs. H.H.A.) Beach (1867-1944) Piano Quintet in f sharp minor, Op.67 |
One of the best and most important piano quintets of the 20th century--and by an American woman no less! |
| Alexander S. Beaumont (1848-1913) String Quintet in a minor (1889) |
Very well-written with some English folk melodies. Shows the influence of Mendelssohn. An attractive work! |
| Ignaz von Beecke (1733-1803) String Quartet in G Major, M.9 |
One of the better quartets from the early classical era (1750's) by a friend of Haydn, Mozart & Dittersdorf |
| Ludwig van Beethoven (1770-1827) Praludium & Fugue for 2 Violins & Cello in e minor, H.29 |
Composed while he was studying with Albrechtsberger, he was proud of the work and planned to publish it. |
| Ludwig van Beethoven (1770-1827) Trio for 2 Violins & Viola in C Major, Op.87 arranged by Ferdinand Ries |
Originally a trio for 2 Oboes & English Horn, the publisher demanded it be arranged to increase sales. B approved. |
| Ludwig van Beethoven (1770-1827) Symphony No.2 arranged by Beethoven for Piano Trio |
Who would have the temerity to do this. Answer-Beethoven, And a truly magnificent arrangement it is. |
| Ludwig van Beethoven (1770-1827) Piano Sonata Op.2 No.1 arranged by Alexander Brand for String Quartet |
Beethoven fervently someone would arrange his piano sonatas for quartet. Brand a famous arranger did. |
| Ludwig van Beethoven (1770-1827) Piano Sonata Op.2 No.3 arranged by Auguste Blondeau for String Quartet |
The French composer Blondeau also tried his hand and made a very effective arrangement as well. |
| Ludwig van Beethoven (1770-1827) Piano Concerto No.1 arranged by Vinzenz Lachner for Piano & String Quintet |
This arrangement, uniformly acclaimed, was the only way most people got to hear this work before records. |
| Ludwig van Beethoven (1770-1827) Piano Concerto No.3 arranged by Vinzenz Lachner for Piano & String Quintet |
A stunning arrangement by one of the greatest arrangers of all time. Beethoven would surely have approved. |
| Ludwig van Beethoven (1770-1827) Piano Concerto No.5 arranged by Vinzenz Lachner for Piano & String Quintet |
This arrangement made by the man recognized as the best arranger of such works. Very effective & fun to play |
| Ludwig van Beethoven (1770-1827) Triple Concerto arranged by Carl Reinecke for Piano Trio |
Reinecke was widely considered the best arranger of large scale works for chamber music ensembles. |
| Ludwig van Beethoven (1770-1827) Piano Quartet No.1 in E flat Major, WoO. No.1 |
Almost no knows he wrote 3 delightful, Mozartean works which deserve to be heard in concert. Also for amateurs |
| Ludwig van Beethoven (1770-1827) Piano Quartet No.3 in C Major, WoO.36 No.3 |
The third of a set of three composed in 1785 when he was only 14. Tuneful and not difficult to play. |
| Ludwig van Beethoven (1770-1827) Symphony No.3 Eroica arranged by Ferdinand Ries for Piano Quartet |
Ries, most famous student of Beethoven, virtuoso pianist, 1st rate composer wrote a very fine arrangement. |
| Ludwig van Beethoven (1770-1827) String Quintet (2 Cellos) in A Major, Op.47b of Kreuzer Sonata |
Beethoven's arrangement of his Kreutzer Violin Sonata. Turns out the quintet version is more powerful & dramatic & a finer work |
| Ludwig van Beethoven (1770-1827) String Quintet (2 Violas) of his Symphony No.7 |
The famous arrangement made by the Viennese firm of Steiner for which Beethoven contracted. |
| Ludwig van Beethoven (1770-1827) String Sextet arrangement of the Pastoral Symphony |
Many tried but the only successful arrangement of this work is that of Beethoven's contemporary Michael Gotthard Fischer (1773-1829) |
| Gyula Beliczay (1835-1893)) String Quartet No.1 in g minor, Op.21 |
A pleasing mid-late Romantic era work which presents no technical difficulties and should be of particular interest to amateur quarteters |
| Gyula Beliczay (1835-1893)) Serenade in d minor for String Nonet, Op.36 |
Every bit as good as the better known serenades by Robert Fuchs. No nonet ensemble should miss the chance to play this fine work |
| Jan Levoslav Bella (1843-1936) Sonata No.1 for 3 Violins in G Major, Op.4 |
A fine work with excellent part writing for all in which Bella by use of the Concertante Treble technique achieves surprising sonorities |
| Jan Levoslav Bella (1843-1936) Sonata No.2 for 3 Violins in E flat Major, Op.13 |
One of the finest works for this combination. Bella's artistry is such that you hardly miss the deeper sonority provided by a viola or cello |
| Jan Levoslav Bella (1843-1936) String Quartet No.1 in g minor |
Dating from 1866 this quartet predates those of Brahms and combines elements of the New German School with Schumannesque classicism. |
| Jan Levoslav Bella (1843-1936) String Quartet No.2 in e minor |
Nick-named "The Hungarian" this is a highly original-sounding masterpiece, withadvanced tonalities for its time (1871) & exotic touches. |
| Jan Levoslav Bella (1843-1936) String Quartet No.3 in c minor |
In the repertoire of the famous Bohemian Quartet, this work deserves to once again be in the repertoire. Good to play and to hear |
| Jan Levoslav Bella (1843-1936) String Quartet No.4 in B flat Major (1887) |
Though from the late Romantic period, it has its own special sound and rhythms, giving it a fresh quality. First rate and convincing. |
| Jan Levoslav Bella (1843-1936) String Quintet in d minor (1868) |
A first rate work which makes a fine addition to the repertoire. Echoes of Schubert & Bruckner but also original & fresh. |
| Franz Bendel (1832-1874) Souvenir d'Hongrie for Piano Trio (1873) |
One of Liszt's best students composes a wonderful encore popularizing Hungarian melodies. Very effective |
| Karel Bendl (1838-1897) String Quartet in F Major, Op.119 |
This quartet, by an important but lesser known Czech composer, is as fine as the best Smetana or Dvorak. |
| Josef Benes (1795-1873) String Quartet No.2 in F Major, Op.30 |
A beautiful & appealing work, not at all hard to play, a typical example of the chamber music in vogue during the late Biedermeier era. |
| Gustaf Bengtsson (1795-1873) String Quintet in a minor (1907) |
An interesting work by a young Swedish composer written in the late Romantic style. |
| William Sterndale Bennett (1816-1875) "Sonata Duo" for Cello & Piano in A Major, Op.32 |
It might easily pass for Mendelssohn's "third" cello sonata. Lovely melodies with fine part writing. |
| William Sterndale Bennett (1816-1875) Chamber Trio in A Maj for Violin, Cello & Piano, Op.26 |
A charming and intimate work, pleasing to hear with no technical difficulties. |
| William Sterndale Bennett (1816-1875) Sextet for Piano, String Qt & Bass (or 2Vc), Op.8 |
An excellent companion piece for the Mendelssohn Piano Sextet. Full of lovely and appealing melody. |
| J�rgen Bentzon (1897-1951) Divertimento in One Movement for String Trio, Op.2 |
Showing the influence of his teacher Carl Nielsen, an interesting tonal work at times ascerbic and astringent.. |
| Hermann Berens (1826-1880) Piano Trio No.3 in F Major, Op.95 No.1 |
The first of a very popular set of three trios often performed throughout the last part of the 19th century. |
| Hermann Berens (1826-1880) Piano Trio No.4 in g minor, Op.95 No.2 |
A fresh, very effective work with fine part-writing and appealing melodies. Good choice for performance, playes well. |
| Hermann Berens (1826-1880) String Trio No.1 in D Major, Op.85 No.1 |
First of 3 Schumannesque-Mendelssohnian trios. Important addition from the little served mid-romantic period. |
| Hermann Berens (1826-1880) String Trio No.2 in c minor, Op.85 No.2 |
Good part writing, exciting, appealing melodies. Valuable mid romantic period addition to repertoire. |
| Hermann Berens (1826-1880) String Trio No.3 in F Major, Op.85 No.3 |
A Mid-Romantic masterwork for string trio. Exciting, great melodies and part-writing. A highly effective work. |
| Hermann Berens (1826-1880) String Quartet in e minor, Op.78 |
Using Mendelssohn and Schumann as his models, he writes with his own voice. Full of drama & good melodies. |
| Wilhelm Berger (1861-1911) Violin Sonata No.3 in g minor, Op.70 |
"Seldom equaled and never bettered" as one well-known critic put it. An unqualified masterwork from the Romantic era. |
| Wilhelm Berger (1861-1911) Trio for Clarinet, Cello & Piano in g minor, Op.94 |
One of the finest works for this combination ever composed. A late-romantic masterpiece |
| Wilhelm Berger (1861-1911) Piano Quintet in f minor, Op.95 |
A massive and important post-Brahmsian work hailed as a masterpiece by The Chamber Music Journal |
| Wilhelm Berger (1861-1911) String Trio in g minor, Op.69 |
Altmann in his Handbook for String Quartet Players says it is an unqualified late romantic masterpiece. |
| Wilhelm Berger (1861-1911) String Quintet in e minor, Op.75 |
Winner of the Beethoven Society Prize, a very valuable addition to the cello quintet repertoire. |
| Rudolph Bergh (1859-1924) String Quartet in d minor, Op.10 |
A powerful and original sounding work written in a post Brahmsian tonality with early modern tendancies. |
| Charles de Beriot (1802-1870) Piano Trio No.1 in D Major, Op.4 |
An appealing lighter work based on themes from Carl Maria von Weber's opera Der Freischȕtz. |
| Charles de Beriot (1802-1870) Piano Trio No.2 in D Major, Op.58 |
A mid romantic era work with appealing melodies with fine part-writing in true chamber music style |
| Lennox Berkeley (1903-1989) String Trio, Op.19 (1943) |
A compelling first rate work in the neo-classical style. Belongs in the concert hall and strong amateurs also |
| Henri Bertini (1798-1876) Piano Trio in A Major, Op.43 |
Elegant and tasteful writing with beautiful melodies showing the influence of Clementi, Mozart & Hummel. |
| Henri Bertini (1798-1876) Sextet in E Major for String Qt, Bass & Piano, Op.90 |
Of its type and from its era (early mid Romantic), if not the best, certainly one of them Wonderful melodies & good part writing. |
| Franz Berwald (1796-1868) String Quartet No.1 in g minor |
Well ahead of its time. Highly original, certainly nothing like it coming out of Scandinavia in 1818 let alone several decades later. |
| Franz Berwald (1796-1868) String Quartet No.3 in E flat Major |
An original and fresh-sounding. Combines stormy turbulence with Schumannesque romanticism. |
| Franz Berwald (1796-1868) Quartet for Clarinet, Basson, Horn & Piano in E flat Major |
One of the few works written for this combination from the emerging Romantic era (1819) with many original touches. |
| Franz Berwald (1796-1868) Piano Quintet No.1 in c minor, Op.5 |
Liszt praised the music as highly original, but it took over a century to appreciate what Berwald was doing. |
| Franz Berwald (1796-1868) Piano Quintet No.2 in A Major, Op.6 |
A composer who in many ways was ahead of his time. Like the first piano quintet, a very original and interesting work. |
| Franz Berwald (1796-1828) Septet for Winds & Strings in B flat Major |
A first class work for this little served combination. Good part-writing for all. Tuneful and fun to play. |
| Antoine Bessems (1806-1868) String Trio in E flat Major Op.90 |
From the early French Romantic era. Appealing melodies with good part-writing for all. |
| Adolf Binder (1845=1901) String Trio in C Major Op.1 |
Excellent mid-romantic era trio. Really fine part-writing, no technical difficulties and attractive melodic material. |
| Kaspar Jakob Bischoff (1823-1893) String Trio in c minor Op.5 |
This trio was awarded first prize in competition where the judges were 3 famous composers: Franz Lachner, Louis Spohr & Josef Strauss. |
| Georges Bizet (1838-1875) Petit mari, petite femme for String Octet, Op.22 No.11 |
From Jeux d'enfants and arranged by Bizet himself for 8 strings, when played by an octet & not an orchestra retains its lovely charm. |
| Adolphe Blanc (1828--1885) String Trio No.1 in G Major, Op.41 |
Attractive melodies this trio makes no great technical demands and is an effective performance work. |
| Adolphe Blanc (1828--1885) String Trio No.2 in A Major "Carmen" Op.41 |
Appealing melodies, good part writing, with a Spanish Rondo finale which calls themes from Bizet's Opera Carmen |
| Adolphe Blanc (1828--1885) String Trio No.3 in f minor, Op.48 |
Appealing melodies, good part writing, with a Spanish Rondo finale which calls themes from Bizet's Opera Carmen |
| Adolphe Blanc (1828--1885) String Quartet No.3 in F Major, Op.38 |
Like his trios, this is an effective work, not at all hard to play and a good choice for performance. |
| Adolphe Blanc (1828--1885) String Quartet No.4 in E Major, Op.53 |
Elegant and charming, not hard to play with appealing melodies, good choice for amateur ensembles |
| Adolphe Blanc (1828--1885) String Quintet No.1 (2 Vla) in B flat Major, Op.15 |
A work full of lovely melodies, in the style of the Vienna Classics and with no technical difficulties. Fun to play. |
| Adolphe Blanc (1828--1885) String Quintet No.2 (2 Vla) in C Major, Op.19 |
Fetching melodies, good part-writing, an example of why he won the prestigious Chartier Prize for chamber music. |
| Adolphe Blanc (1828--1885) String Quintet No.3 (Vc & Kb) in D Major, Op.21 |
Beautiful melodies, solos for all. An effective work which can be played by cello & bass or 2 cellos. |
| Adolphe Blanc (1828--1885) String Quintet No.4 (Vc & Kb) in E flat Major, Op.22 |
Written right after the third quintet, it has all of the same qualities and is for the same combination of ensembles |
| Adolphe Blanc (1828--1885) String Quintet No.5 (2 Vla) in D Major, Op.29 |
Here, Blanc returns to the standard arrangement for 2 violas. Like the others, tuneful and fun to play. |
| Adolphe Blanc (1828--1885) String Quintet No.7 (Vc & Kb) in E Major, Op.50 |
An arrangement of his famous Septet & the job he did is so fine that this quintet version is every bit as good as the septet. A winner! |
| Adolphe Blanc (1828-1885) Trio for Clarinet (Violin), Cello & Piano in B flat, Op.23 |
Early mid romantic work which is elegant and appealing. A pleasure to play and to hear. |
| Adolphe Blanc (1828-1885) Romance for Oboe, Horn and Piano, Op.43b |
A marvelous short work by one France's best chamber music composers. Excellent choice for concert or home.. |
| Adolphe Blanc (1828-1885) Quintet for Flute, Clarinet, Horn, Bassoon & Piano in E flat Major, Op.37 |
Superbly written, Blanc's skill at writing chamber music is highlighted by how the piano is integrated into the work |
| Adolphe Blanc (1828-1885) Septet for Winds & Strings in E Major, Op.40 |
For the same combination as Beethoven's Septet and every bit as good. A beautiful & convincing masterpiece. |
| Adolphe Blanc (1828-1885) Septet for Piano, Viola, Cello, Bass, Flute, Oboe & Horn in E flat Major, Op.54 |
A fine work for this very rarely served combination. Good enough for concert performance & home music makers. |
| Ernest Bloch (1880-1959) Sonata No.1 for Violin & Piano (1921) |
Powerful & dramatic. A magnificent work combining elements of late German Romanticism with French impressionism. |
| Ernest Bloch (1880-1959) Night for String Quartet (1923) |
A highly evocative nocturnal work full of the gloom and sounds of the night. Great encore or short work. |
| Ernest Bloch (1880-1959) In the Mountains for String Quartet (1924) |
Bloch shows that he has left late German Romanticism behind and has written an interesting tone poem in post French impressionist style. |
| Ernest Bloch (1880-1959) Paysages (landscapes) for String Quartet (1925) |
A portral of three different landscapes: the Artic, the Alps & the South Sea Islands. Good for concert & home. |
| Ernest Bloch (1880-1959) Three Nocturnes for Piano Trio, Op.56 |
Exotic effects & gossimer melodies with excellent part-writing. An excellent concert choice but also amateurs. |
| Ernest Bloch (1880-1959) Piano Quintet No.1 (1923) |
No French nor German influence here in this very original and powerful work which deserves concert performance. |
| Auguste Louis Blondeau (1786-1863) String Quartet in a minor, Op.11 No.2 |
A first class quartet from the French early Romantic period with many original touches. |
| Auguste Louis Blondeau (1786-1863) String Quartet in F Major, Op.14 No.3 |
Historically important fine quartet from the early French Romantic era. Good for concert and home quartet players |
| Felix Blumenfeld (1863-1931) String Quartet in F Major, Op.26 |
One of the very best late Russian Romantic Nationalist School Quartets. A beautiful work with fine part writing. |
| Jacques Blumenthal (1829-1908) Piano Trio in f minor, Op.26 |
Critics called this first rate work 'Mendelssohn's 3rd'. With beautiful melodies & good part-writing excellent for concert |
| Sandro Blumenthal (1874-1919) Piano Quintet No.1 in D Major, Op.2 |
A lovely work with fine part-writing for all. A fresh and appealing choice for the concert hall but also a pick for amateurs as well |
| Theodor Blumer (1881-1964) Quintet for Flute, Oboe, Clarinet, Horn & Bassoon, Op.52 |
An attractive modern work combining elements of late romanticism with neo-classicism. |
| Theodor Blumer (1881-1964) Tanz-Suite for Flute, Oboe, Clarinet, Horn & Bassoon, Op.53 |
Six contrasting different dances from the Baroque to the 1920s. Good for concert and amateurs as well. |
| Theodor Blumer (1881-1964) Sextet for Piano & Wind Quintet, Op.45 |
Intended for composer & the famous Dresden Wind Quintet. Charming work, each instruments has a chance to shine. |
| Luigi Boccherini (1743-1805) Cello Sonata No.1 in A Major, G.13 |
The first of the most famous set of sonatas Boccherini ever published, dating from 1771. A fine rectial choice. |
| Luigi Boccherini (1743-1805) Cello Sonata No.2 in C Major, G.6 |
Each of these sonatas though having certain similarities has its own character and moods. |
| Luigi Boccherini (1743-1805) Cello Sonata No.3 in G Major, G.5 |
The only one of the set to have an Allegro alla militaire which is quite striking and makes a strong impression. |
| Luigi Boccherini (1743-1805) Cello Sonata No.4 in E flat Major, G.10 |
As in the preceding sonata, here we find strong contrasts in mood, created not only by melody but by his use of rhythms. |
| Luigi Boccherini (1743-1805) Cello Sonata No.5 in F Major, G.1 |
Actually, according to Boccherini's cataloger, the first sonta he composed. Like the others, a suitable recital work. |
| Luigi Boccherini (1743-1805) Cello Sonata No.6 in A Major, G.4 |
In the middle movement, we find a pieces clearly meant to showcase Boccherini's extraordinary technical abilities. |
| Luigi Boccherini (1743-1805) Six Piano Sonatas, Op.12, G.143-148 |
In the middle movement, we find a pieces clearly meant to showcase Boccherini's extraordinary technical abilities. |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.77 & 78 |
His only surviving set of piano trios make an excellent concert choice where a shorter program work is required |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.79 & 80 |
These are the middle trios from first set of Boccherini's string trios. Their style is typically more Baroque than the 2 above |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.81 & 82 |
The final two trios from first set of Boccherini's string trios. They combine the Baroque and emerging classic styles. |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.89 & 90 |
The first 2 of Boccherini's third set of string trios dating from 1769 which are now leaning more toward new emerging classical style. |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.91 & 92 |
The 3rd and 4th of Boccherini's third set of string trios dating from 1769 which are now leaning more toward new emerging classical style. |
| Luigi Boccherini (1743-1805) Two String Trios (2 Vlns & Vc) , G.93 & 94 |
The final 2 of Boccherini's third set of string trios dating from 1769. No.5 is the only one of the set which is in the minor. |
| Luigi Boccherini (1743-1805) 6 Trios (2 Vlns & Vc) Op.6 Nos.1-6, G.89-94 |
Among his earliest, they are intimate, lovely chamber works well suited to amateur players looking for concert works. |
| Luigi Boccherini (1743-1805) String Trios (Vln, Vla & Vc) Nos. 1 & 2, G.95 & 96 |
Two of the best trios from the early classical era. By turns elegant and exciting, the cello has an important role |
| Luigi Boccherini (1743-1805) String Trios (Vln, Vla & Vc) Nos. 3 & 4, G.97 & 98 |
Most of Boccherini's trios were for 2 Vlns & Vc. These are among the few he wrote for standard string trio. |
| Luigi Boccherini (1743-1805) String Trios (Vln, Vla & Vc) Nos. 5 & 6, G.99 & 100 |
From a set which is one of the best for violin, viola and cello. The part writing gives each player extensive solos. |
| Luigi Boccherini (1743-1805) 6 Trios (Vln, Vla & Vc) Op.47 Nos.1-6, G.107-112 |
More intimate and on a smaller scale than G.95-100 trios. Elegant and graceful, full of charm. |
| Luigi Boccherini (1743-1805) String Trio in f minor (2 Vlns & Vc), G.101 |
Every 2 Violin & Cello ensemble looking for a first rate work for this combination should consider this one. |
| Luigi Boccherini (1743-1805) String Trio in G Major (2 Vlns & Vc), G.102 |
From the same set as the above and just as good. Great part writing with true Boccherini melodies. |
| Luigi Boccherini (1743-1805) String Trio in Eb Major (2 Vlns & Vc), G.103 |
Another fine work from this set, well worth having for ensembles seeking trios for this combination. |
| Luigi Boccherini (1743-1805) String Trio in D Major (2 Vlns & Vc) "El Fandango" |
Perhaps the best trio Boccherini wrote for this combination complete with an exciting Spanish fandango. |
| Luigi Boccherini (1743-1805) String Trio in C Major (2 Vlns & Vc), G.105 |
Another fine work from this famous set of trios with the final movement having a set of variations which features each instrument. |
| Luigi Boccherini (1743-1805) String Trio in E Major (2 Vlns & Vc), G.106 |
An excellent work from an historically important set of trios in which each instrument is given generous solos to play. |
| Luigi Boccherini (1743-1805) String Quartet in c minor, G.159 (Op.2 No.1) |
Boccherini's first string quartet. Hence of historical importantce but good part-writing for all including the cello. |
| Luigi Boccherini (1743-1805) String Quartet in C Major, G.164 (Op.2 No.6) |
The Sixth of Boccherini's first set of quartets from his Italian days. Again the cello is given solos and a chance to lead. |
| Luigi Boccherini (1743-1805) String Quartet in D Major, G.177 (Op.15 No.1) |
One of Boccherini's early works showing the influence of his time spent in Paris. Well suited to amateur groups. |
| Luigi Boccherini (1743-1805) 5 Famous Dances for String Quintet (2Vc) from G.269, 273, 307, 316 & 374 |
Includes the Balla Tedesco & Minuetto Sequidilla. Easy to play. They make great encores or a program choice |
| Luigi Boccherini (1743-1805) String Quintet (2Vc) in E Major, Op.11 No.5 "Ladykillers", G.275 |
The Quintet takes its name from its famous "Celebrated" Minuet used in the popular British film, The Ladykillers |
| Luigi Boccherini (1743-1805) String Quintet (2Vc) in D Maj, Op.11 No.6 "Bird Sanctuary", G.276 |
He succeeds surprising well in creating the sounds of birds, shepherds pipes and hunters horns. One of his most famous. |
| Luigi Boccherini (1743-1805) String Quintet (2Vc) in d minor, Op.13 No.4, G.280 |
One of the few quintets in the minor, the finale features a fine baroque style extended fugue. |
| Luigi Boccherini (1743-1805) String Quintet (2Vc) in D Major, Op.18 No.2, G.284 |
Was nicknamed the 'Trio Concertante' quintet as the trio section of the minuet is only for the viola and the 2 cellos |
| Luigi Boccherini (1743-1805) String Quintet No.60 (2Vc) "La Ritirata di Madrid"G.324 |
Actual title La Musica Notturna delle Strada di Madrid recreates the sounds and music on the streets of Madrid |
| Luigi Boccherini (1743-1805) String Quintet (2Vc, 2Vla or Vc & Kb) in B flat Major, G.337 |
The famous earyly 19th century saying, "If God wished listen to music, he would choose Boccherini. He might choose this elegant quintet. |
| Luigi Boccherini (1743-1805) String Quintet (2Vc or Vc & Kb) in F Major, G.338 |
The 2nd of this well-known set of quintets, well-known because it calls for a bass rather than a second cello |
| Luigi Boccherini (1743-1805) String Quintet (2Vc or 2Vla) in D Major, G.339 |
The last of this well-known set. Outer movemetns are full of energy, with a lovely Pastorale in the middle |
| Luigi Boccherini (1743-1805) String Quintet (2Vc or 2Vla) in D Major "Del Fandango", G.341 |
The quintet became famous for its fandango movement imitating the dance of the Spanish gypsies. |
| Luigi Boccherini (1743-1805) String Quintet (2Vc or 2Vla) in c minor, G.355 |
This has all of the best--an emotive Boccherini Adagio & stormy quitar like allegros. A winner in concert for sure. |
| Luigi Boccherini (1743-1805) String Quintet (2Vc or 2Vla) in c minor, G.377 |
It has no nickname as some of the others but it is every bit as good, gripping and exciting to play. |
| Luigi Boccherini (1743-1805) "La Ritirata di Madrid" Quintet for Guitar & String quartet G.453 |
Though not the original version (the one above is) it is this version which became the best known and most famous. |
| Luigi Boccherini (1743-1805) Piano Quintet Variations on La Ritirata di Madrid |
His most famous piano quintet because he included variations on the famous La Ritirada di Madrid march. |
| Luigi Boccherini (1743-1805) "Del Fandango" Quintet for Guitar & String quartet G.448 |
This was the result of a commission from a rich amateur guitarist who wanted a version for guitar & strings. |
| Luigi Boccherini (1743-1805) String Sextet No.1 in E flat Major, Op.23 No.1, G.454 |
Quite possibly the first string sextet ever composed. Excellent treatment of all of the voices, lovely melodies. |
| Luigi Boccherini (1743-1805) String Sextet No.2 in B flat Major, Op.23 No.2, G.455 |
One of the earliest string sextets ever composed. A must for those looking for a sextet from the early classcial era. |
| Luigi Boccherini (1743-1805) String Sextet No.3 in E Major, Op.23 No.3, G.456 |
Again, one of the earlies string sextets ever written. Historically important, with good writing for all voices |
| L�on Bo�llmann (1862-1897) Suite for Cello and Piano, Op.6 |
Comprising four appealing movements which can be played as a suite or each separately as a short work or encore. |
| L�on Bo�llmann (1862-1897) Variations Symphoniques for Cello and Piano, Op.23 |
Unjustly neglected masterpiece once a staple of concert & recital halls. A fresh option makes a lasting impression. |
| L�on Bo�llmann (1862-1897) Two Pieces for Cello and Piano, Op.31 |
Short, highly atmospheric works which can serve as short recital pieces or encores. |
| L�on Bo�llmann (1862-1897) Cello Sonata in a minor, Op.40 |
An important late French Romantic work. Original and atmosheric, it makes a fine choice for the recital hall. |
| L�on Bo�llmann (1862-1897) Piano Trio in G Major, Op.19 |
A Prize-Winning work of high originality and great beauty. An unjustly forgotten masterwork of the first order. |
| L�on Bo�llmann (1862-1897) Piano Quartet in f minor, Op.10 |
One of the masterpieces of the French chamber literature. Atmospheric, mysterious, then sparkling and dynamic. |
| Alexandre Bo�ly (1785-1858) String Trio No.1 in D Major, Op.5 No.1 |
Dating from 1808, it takes Beethoven's Op.9 trios as its model. A fine late classical-early romantic work. |
| Alexandre Bo�ly (1785-1858) String Trio No.2 in C Major, Op.5 No.2 |
Astounding proof that Bo�ly was one of the few men in France at that time familiar with Beethoven's Op.18 quartets |
| Alexandre Bo�ly (1785-1858) String Trio No.3 in g minor, Op.5 No.3 |
Bo�ly takes Beethoven's Op.9 c minor trio as his inspiration and composes a work along the same lines. |
| Alexandre Bo�ly (1785-1858) String Quartet No.1 in a minor, Op.27 |
Composed in the mid 1820's Bo�ly's quartets mix elements of the late classical with the early romantic. A fine work. |
| Alexandre Bo�ly (1785-1858) String Quartet No.3 in G Major, Op.29 |
Bo�ly takes early Beethoven as his model, something vitually unheard of in the France of the 1820's. A good work. |
| Carl Bohm (1844-1920) Piano Trio in D Major, Op.330 No.1 |
This is an attractive, well-written work presenting no difficulties aimed at amateurs looking for a concert piece. |
| Carl Bohm (1844-1920) "Trout" Piano Trio in G Major, Op.330 No.2 |
A light, charming piano trio which quotes the theme from Schubert's famous quintet. |
| Carl Bohm (1844-1920) Six Light Piano Trios, Op.352 |
Easy to play, appealing melodies, audience pleasers, perfect recital works for amateurs & useful for pros as well |
| Emil Bohnke (1888-1928) Piano Trio in b flat minor, Op.5 |
Pushing the limits of traditional tonality, a highly original, late Romantic work of the very first order. |
| Ren� de Boisdeffre (1838-1906) Three Pieces for Cello and Piano, Op.15 |
Any of these three pieces--Prelude, Elegy or Serenade make for a good short recital piece, together they can take the place of a sonata. |
| Ren� de Boisdeffre (1838-1906) Elevation for Cello and Piano, Op.48 |
A lovely, short romance, beautifly written and deeply felt. An effective recital choice. |
| Ren� de Boisdeffre (1838-1906) Trois Pieces Pittoresques for Cello and Piano, Op.93 |
The composer paints musical pictures of a landscape, at the beach and on the lake. Well-written and highly evocative. |
| Ren� de Boisdeffre (1838-1906) Sonata for Cello and Piano in F Major, Op.63 |
A major work in the late Romantic style. Boisdeffre eschewed impressionism as did Saint Saens. Perfect for recital. |
| Ren� de Boisdeffre (1838-1906) Serenade for Flute, Violin & Piano, Op.85 |
A calm, dreamy notturno-like work expertly exploiting the tonal qualities of each instrument |
| Ren� de Boisdeffre (1838-1906) Piano Trio No.1 in E flat Major, Op.10 |
A superb work from the late French Romantic era which makes an excellent concert hall choice and good for home too. |
| Ren� de Boisdeffre (1838-1906) Piano Trio No.2 in g minor, Op.32 |
Winner of the 1st Prize held by the Society of French Composers, it combines elements of the Bachian Baroque with French Romaticism. |
| Ren� de Boisdeffre (1838-1906) Trois Pieces en Quatuor for Piano Quartet, Op.64 |
Three shorter lovely pieces which are perfect where a shorter program work is desired, each good for encores. |
| Ren� de Boisdeffre (1838-1906) Sextet for Piano, String Quartet and Bass, Op.43 |
At time powerful, at times lyrical, at times dramatic, at times orchestral. This work is all of these things. |
| Joseph Bologne Chevalier de St Georges (1745-1799) String Quartet No.4 in c minor, Op.1 No.4 |
Inspired by some of Haydn's very early string quartets, this is among one of the earliest French string quartets |
| Franz B�lsche (1844-1920) String Quartet No.2 in c minor, Op.27 |
A fine late Romantic work with good part writing and no real technical difficulties. A good quartet for concert or homel |
| Mel Bonis (1858-1937) Suite for Flute, Violin & Piano, Op.59 |
A thoroughly charming and enchanting work. Her music is the link between the French romantics & impressionists |
| Mel Bonis (1858-1937) Suite Orientale for Piano Trio, Op.48 |
Here the world of the Near East and Arab North Africa are evoked through the language of French impressionism. |
| Mel Bonis (1858-1937) "Soir-Matin" for Piano Trio, Op.76 |
An evocative impressionist two movement work which creates the calm of evening and the restless of morning |
| Mel Bonis (1858-1937) Piano Quartet No.1 in B flat Major, Op.69 |
Highly praised by Saint Saens, this lovely work is sure to please. Gentle touches of French impressionism. |
| Mel Bonis (1858-1937) Piano Quartet No.2 in D Major, Op.124 |
She called it her musical testament, with a mix of post and traditional impressionism with echoes of Gabriel Faure. |
| Charles Bordes (1863-1909) Suite Basque for Flute and String Quartet, Op.6 |
All voices generously treated. One of the few chamber works to present Basque folk melody. Good for concert & home. |
| Alexander Borodin (1833-1887) String Trio for 2 Violins & Cello in g minor |
One of Borodin's earliest works based on the famous Russian folk song 'What have I done to hurt you' |
| Alexander Borodin (1833-1887) String Trio No.2 for 2 Violins & Cello in G Major |
Perhaps Borodin's first chamber music work. Showing the influence of Mozart, Hummel and the early Romantic composers. |
| Alexander Borodin (1833-1887) String Quartet No.1 in A Major |
A first class work from his mature period with many very original tonal ideas and colors. |
| Alexander Borodin (1833-1887) String Quartet No.2 in D Major |
The 3rd Movt is perhaps the most famous piece he ever wrote, but the rest of the quartet is undeservedly unknown & 1st rate |
| Alexander Borodin (1833-1887) String Sextet in d minor, Op. Post. |
An early, Mendelssohnian work from Borodin's time in Germany with Russian folk melody. |
| Alexander Borodin (1833-1887) Intro & Gliding Dance of the Polovtsian Maidens for Piano Quintet |
An arrangement of the first Polovtsian Dance from the opera Prince Igor makes a very effective short piece or encore. |
| Alexander Borodin (1833-1887) Piano Trio in D Major |
An early work, dating from around 1860 from his time in Italy. It has a Mendelssohnian flavor to it. |
| Alexander Borodin (1833-1887) Piano Quintet in c minor |
One of the few early works to survive in its entirety, the quintet boasts lovely Russian melodes & fine part writing |
| Hakon B�rresen (1876-1954) String Sextet in G Major, Op.5 |
Highly praised by Edvard Grieg, a true Nordic sounding sextet with wonderful melodies and find part writing |
| Dmitry Bortniansky (1751-1825) Piano Quartet or Quintet in C Major (1787) |
Can be played in either version. One of the earliest examples of chamber music by a Russian composer |
| Enrico Bossi (1861-1925) Romanze for Viola or Cello & Piano, Op.89 |
A lovely work characterized by gorgeous, dreamy melodies. Emotive and very effective. |
| Enrico Bossi (1861-1925) Piano Trio No.1 in d minor, Op.107 |
Original. By turns powerful, dramatic and lyrical, it is a fusion of Italian bel canto & German Romanticism |
| Enrico Bossi (1861-1925) Piano Trio No.2 in D Major, "Trio Sinfonico, Op.123 |
As the title implies, written on a huge scale. A foundation work of modern Italian music. Very dramatic, romantic. |
| Giovanni Bottesini (1821-1889) Gran Quintetto No.1 for String Qt & Bass in c minor, Op.99 |
An exciting work, full of drama and fetching operatic style melodies.A A sure pleaser if presented in concert. |
| Giovanni Bottesini (1821-1889) String Quintet No.2 (2 Cellos) in e minor (1862) |
A work full of charm, appealing melodies and fine writing for both cellos, but can also be played by cello & bass |
| Pietro Bottesini (1792-1874) Introduzion, Theme & Variations for Fl, Cln & Str Qt |
Father of bassist Giovanni. A charming and appealing work intended to showcase the flute and clarinet in the style of Rossini and Donizetti |
| Rutland Boughton (1878-1960) Celtic Prelude for Piano Trio |
Subtitled "Land of Heart's Desire', the title of a Yeats play, this fine short works features Irish folk melodies. |
| Nadia Boulanger (1887-1979) Three Pieces for Cello and Piano (1914) |
Interesting, atmospheric works in post-impressionist style which can be used separately or together the length of a short sonataA |
| Fritz Bovet (1825-1913) String Quartet in d minor, Op.14 |
Appealing melodies & excellent part writing & not at all difficult make this a fine choice for amateurs, |
| York Bowen (1884-1061) Suite for Violin & Piano in d minor, Op.28 |
A massive work dedicated to the famous violinist Fritz Kreisler combines late Romanticism with some French Impressionistic ideas |
| York Bowen (1884-1061) String Quartet No.2 in d minor, Op.41 |
A combination of power, drama and romance. His style has been called Rachmaninov with a touch of impressionism. |
| Francisco Braga (1868-1945) Piano Trio (1905) |
A powerful and dramatic late romantic, early modern Brazilian masterwork with echos of the jungle & the bustle of urban life. |
| Gaetano Braga (1829-1907) Souvenir du Rhin for Cello & Piano |
A virtuosic recital or competition piece make a perfect encore. Lovely Italian melodies with technical fireworks |
| Johannes Brahms/Joseph Joachim Hungarian Dances for Violin and Piano |
More famous than the original for piano 4 hands made by Brahms' close friend the violin virtuoso Joseph Joachim |
| Johannes Brahms/Alfredo Piatti Hungarian Dances for Cello and Piano |
Also more famous than the original. A very effective arrangement by the famous cellist Alfredo Piatti |
| Johannes Brahms (1833-1897) Clarinet Trio in a minor, Op.114 |
We offer this famous trio in the standard version but also in a superb version for clarinet and BASS as well as one for violin or viola & cello. |
| Johannes Brahms (1833-1897) String Sextet No.1 in B flat Major, Op.18 |
We offer this famous sextet in the standard version as well as a superb version for cello and BASS. |
| Johannes Brahms (1833-1897) String Sextet No.2 in G Major, Op.36 |
We also offer this famous sextet in the standard version as well as a superb version for cello and BASS. |
| Johannes Brahms/Theodore Kirchner Piano Trio arrangement of String Sextet No.1 Op.18 |
Brahms asked Kirchner to make this fine arrangement, once more famous and more performed than the original. |
| Johannes Brahms/Theodore Kirchner Piano Trio arrangement of String Sextet No.2, Op.36 |
Ditto for work. It was done at Brahms' request & for a long time was more famous & more performed than the original. |
| Caspar Joseph Brambach (1833-1902 Piano Quartet No.1 in E flat Major, Op.13 |
Powerful, full of good melodies and fine part-writing that belongs in the front rank of works from this period |
| Caspar Joseph Brambach (1833-1902 Piano Quartet No.3 in g minor, Op.110 |
A late Romantic-era masterwork. This piano quartet has it all. A must for the concert hall & still good for amateurs |
| Caspar Joseph Brambach (1833-1902 Piano Sextet (2 Vln, 2 Vla & Vc) in c minor, Op.5 |
An ingratiating work that is fun to play, sounds good and presents no technical problems. A fine concert choice. |
| Jan Brandts Buys (1868-1933) Violin Sonata in a minor, Op.26 |
Simple folk melodies given original rhythmic accompaniments create an original sounding work. |
| Jan Brandts Buys (1868-1933) String Quartet in c minor, Op.19 |
Recommended by critics for both concert & home. Very appealing late-romantic, early modern work. |
| Jan Brandts Buys (1868-1933) Suite in the Ancient Style for String Quartet, Op.23 |
A charming, light work, finely written with no technical difficulties that pays tribute to the baroque & classical eras |
| Jan Brandts Buys (1868-1933) Romantische Serenade for String Quartet, Op.25 |
Lovely early 20th century Central European impressionist masterpiece where the viola shines throughout. |
| Jan Brandts Buys (1868-1933) Sicilian Serenade for String Quartet, Op.28 |
Highly recommended by the Altmann in the Handbook for String Quartet Players as a program choice. |
| Jan Brandts Buys (1868-1933) Christmas Quintet in D Major for Flute & String Quartet, Op.21 |
An interesting & original sounding work which combines the voices seamlessly. Good for concert & home. |
| Jan Brandts Buys (1868-1933) String Sextet in D Major, Op.40 |
Highly praised by critics this sextet can be played for 3 violins, 2 violas & cello or by a standard string sextet. |
| Max Brauer (1855-1918) Sextet in g minor for Piano and Winds |
A masterwork for this ensemble. Melodies are fetching & the part-writing superb. Excellent for concert & home. |
| Johannes van Bree (1801-1857) String Quartet No.1 in a minor (1833) |
A work by a long-time 1st violin of a famous string quartet. The work is appealing and tuneful |
| Johannes van Bree (1801-1857) String Quartet No.3 in d minor (1848) |
Mid Romantic work which takes Mendelssohn for its inspiration. Excellent part-writing with fetching melodies |
| Tom�s Bret�n (1850-1923) Quatre (4) Morceaux Espagnols for Piano Trio |
Dedicated to Pablo Casals in 1913, these are beautiful, highly emotive pieces conjuring up pictures of Old Spain |
| Tom�s Bret�n (1850-1923) Piano Trio in E Major |
An amalgam of the early Viennese romantics fused to late French romanticism. Fine part writing and melodies. |
| Tom�s Bret�n (1850-1923) String Quartet No.1 in D Major |
Combines the influences of the Vienna classics with Bruckner, the French impressionists & Spanish melody. |
| Tom�s Bret�n (1850-1923) String Quartet No.3 in e minor-World Premier Edition |
An outstanding, very Spanish sounding work combining modern influences. A must for concert but also home. |
| Jean Baptiste Br�val (1753-1823) Cello Sonata in G Major (1787) |
Here is very good work from the end of the French Classical period which shows off the cello with elegance. |
| Jean Baptiste Br�val (1756-1825) Three Trios for Violin, Cello and Bass, Op.39 |
A rarity to be sure. Full of elegant, graceful melodies. A good choice for pro ensembles and for amateurs |
| Frank Bridge (1879-1941) Allegro appassionato for Viola & Piano (1908) |
An excellent shorter recital work which exploits all of the viola's tonal possibilties. |
| Frank Bridge (1879-1941) Phantasie for String Quartet in f minor (1902) |
Prize-winning work which pioneered the new, emerging early 20th century British style of writing. |
| Frank Bridge (1879-1941) Rhapsody Trio for 2 Violins & Viola (1928) |
A late work from his so-called modernist period. It has a mysterious and elegant quality with fine part writing. |
| Frank Bridge (1879-1941) Cherry Ripe for String Quartet (1916) |
Based on an English folksong. Tremendous showcase for String Quartet. Imaginative & captivating. |
| Frank Bridge (1879-1941) Sally in Our Alley for String Quartet (1916) |
A romantic, lovely short work based on an English folksong. Combines traditional with modern approach |
| Frank Bridge (1879-1941) Sir Roger de Coverley for String Quartet (1922) |
The last of the English folksongs for quartet. Here presented in a serious of ingenious variations. |
| Frank Bridge (1879-1941) Three Idylls for String Quartet |
Short tone poems tonally far ahead of their time, with elements of the blues and Latin music. |
| Frank Bridge (1879-1941) Three Novelletten for String Quartet |
Finely drawn character pieces, drawing on many moods, at times very modern at others quite romantic. |
| Frank Bridge (1879-1941) String Quartet No.1 in e minor (1906) |
Highly original, full of passion, drama and fresh ideas, Bridge's use of chromaticism is very telling |
| Frank Bridge (1879-1941) String Sextet in E flat Major (1912) |
A Post-Brahmsian work, combining English melody with touches of French impressionism. Power and impressive work |
| Frank Bridge (1879-1941) Three Miniatures Nos. 1-3 for Piano Trio |
Superb short character pieces of charming simplicity & lovely melodies, perfect little encores or as a short work |
| Frank Bridge (1879-1941) Three Miniatures Nos. 4-6 for Piano Trio |
A sad Romance, a jaunty Intermezzo and a brilliant, upbeat Saltarello make up this set of little gems. |
| Frank Bridge (1879-1941) Three Miniatures Nos. 7-9 for Piano Trio |
Brilliantly written cameos each of which could serve as a superb encore or together as a short concert work. |
| Frank Bridge (1879-1941) Phantasie for Piano Trio in c minor (1907) |
Bridge took the first prize in the prestigious Cobbett Competition with this trio. Post romantic & impressionist |
| Frank Bridge (1879-1941) Phantasy for Piano Quartet in f# minor (1910) |
Considered one of the finest works ever composed for the Cobbett Competitions. An outstanding concert piece. |
| Frank Bridge (1879-1941) Piano Quintet in d minor (1912) |
Dramatic and powerful, the music speaks with Bridge's own voice. Fine part-writing and effective themes. |
| Hans von Bronsart (1830-1913) Piano Trio in g minor, Op.1 |
Liszt called it one of the best works of its time (1856). An original, fresh, dramatic and powerful mid Romantic work. |
| Max Bruch (1838-1920) Romanze F Major for Viola and Piano, Op.85 |
Extraordinarily beautiful melodies and highly emotive writing for the viola create one of its best recital pieces |
| Max Bruch (1838-1920) Piano Trio in c minor, Op.5 |
A youthful work full of lovely melodies and dramatic episodes. Originally conceived. Grateful to play. |
| Max Bruch (1838-1920) Piano Quintet in g minor, Op. Post. |
Unlike his quartets or piano trio, this is a work from his prime. Completed in 1888 but published posthumously |
| Max Bruch (1838-1920) Double Concerto in e minor for Clarinet or Violin, Viola & Piano, Op.88 |
Superb adaptation of his work for orchestra. Even more effective as a chamber music work. Great for concert. |
| Max Bruch (1838-1920) String Quartet No.1 in c minor, Op.9 |
Fine mid-romantic era work with appealing melodies and lots of excitement. In the Mendelssohnian tradition. |
| Max Bruch (1838-1920) String Quartet No.2 in E Major, Op.10 |
Unjustly over looked first rate mid romantic era work. Mendelssohnian but very original rhythms and themes. |
| Anton Bruckner (1824-1896) String Quartet in c minor |
This fine quartet shows how Bruckner's roots were firmly in the classics. Excellent part writing and good melodies. |
| Anton Bruckner (1824-1896) String Quintet (2Vla) in F Major |
A unique masterpiece within the literature. Paralleling the grandeur of his symphonic works. |
| Anton Bruckner (1824-1896) Intermezzo for String Quintet (2Vla) in d minor |
This little gem was composed on the request of the famous violinist who asked Bruckner for a string quintet. |
| Ignaz Br�ll (1846-1907) Piano Trio in E flat Major, Op.14 |
A pleasing work by this friend of Brahms with fine part writing and fetching melodies. No technical difficulties. |
| Bartolomeo Bruni (1757-1821) Six String Trios, Op.36 for 2 Violins & Cello or 2 Violins & Viola |
These trios with appealing melodies and excellent part-writing were quite popular. Good for concert & home |
| Franciszek Brzeziński (1867-1944) Violin Sonata in D major, Op.6 |
A lovely and very original work combining neo-romanticism with the modernist trends of the early 20th century (1909) |
| Ole Bull (1810-1880) Polacca Guerriera for Violin and Piano |
Some say Bull was not a virtuoso. This work, intended for his own use puts paid to that false idea. |
| Ole Bull (1810-1880) S�terjentens S�ndag for String Trio |
Johan Svendsen's very effective arrangement of Bull's famous melody (in English the Dairymaid's Sunday) |
| August Bungert (1845-1915) Piano Quartet in E flat Major, Op.18 |
Awarded first prize by Brahms & Volkmann, this fine work is filled with wonderful melodies & fine part writing. |
| Giuseppe Buonamici (1846-1914) String Quartet in G Major (1870) |
Called a treasure of the quartet literature, this beautiful work, is not difficult and is a pleasure to play. |
| Max Burger (1856-1917) Jugendtrio in G Major, Op.66 |
Intended for young people, students & amateurs, this is a 1st rate work good enough for concert hall. |
| Norbert Burgm�ller (1810-1836) String Quartet No.4 in a minor, Op.14 |
Schumann said Bugmuller's a great a loss to the musical world and was responsible for seeing this work published |
| Adolf Busch (1891-1962) Piano Trio No.1 in a minor, Op.15 |
Dark and brooding, beautiful, dramatic, strident and riveting, this is an important modern piano trio, a powerhouse in the concert hall. |
| Adolf Busch (1891-1962) Serenade for String Quartet, Op.14 |
A very appealing neo-classical work. Excellent part-writing and not at all difficult to play. Good for concert and for amateurs. |
| Ferruccio Busoni (1866-1924) Serenata for Cello & Piano, Op.34 |
A charming, lyrical work which shows off the cello to good effect and which would make a fine shorter recital choice |
| Ferruccio Busoni (1866-1924) Kleine Suite for Cello & Piano, Op.23 |
No little suite as the title suggests but a full length tribute to Bach by one of his greatest interpreters. A rectial selection |
| Ferruccio Busoni (1866-1924) Elegia for Clarinet and Piano (1920) |
Dark hued and evocative, lyrical yet sad, one of the finest of its type for the clarinet. Not to be missed. |
| Ferruccio Busoni (1866-1924) Violin Sonata No.1 in e minor, Op.29 |
An important work in the Austro-German romantic tradition which definitely belongs in the recital hall. |
| Ferruccio Busoni (1866-1924) Violin Sonata No.2 in e minor, Op.36a |
A work, which though rooted in traditional tonality, begins to point in a new direction leaving romanticism behind. |
| Ferruccio Busoni (1866-1924) String Quartet No.1 in C Major, Op.19 |
A work of great breadth. By turns brooding, heroic and humorous. This is a clever and winning work. |
| Ferruccio Busoni (1866-1924) String Quartet No.2 in d minor, Op.26 |
An incredible quartet with tonalities way ahead of its time (1889). A masterwork from the post romantic period. |
| Ferruccio Busoni (1866-1924) Three Character Pieces for Clarinet & String Quartet |
Written at the age of 13-15 these highly emotive and lovely works clearly show what a prodigy Busoni was and why he impressed Brahms |
| Ferruccio Busoni (1866-1924) Concerto for Piano and String Quartet in d minor, Op.17 |
This is an amazing work in view of the fact that it was written by a 12 year old! Good choice for concert. |
| Dietrich Buxtehude (1637-1707) Trio Sonata in D Major, Op.2 No.2 for Piano Trio |
A valuable work by one of the most important composers of the German Baroque. The writing for cello equals that for the violin. |