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The introduction, Andante, is a lighthearted dance played by muted strings, with a D motif. Even though it is in G major, it hints at the leftover D major from the third movement. The end of the introduction is marked with quiet, reflective chords. Suddenly, the unmuted strings jump into a dance in C major, beginning with the first violins.
P VIII:38 – String Quartet Op. 34 No. 3 in B flat major; P VIII:39 – String Quartet Op. 48 No. 1 in E flat major; P VIII:40 – String Quartet Op. 48 No. 2 in C major; P VIII:41 – String Quartet Op. 48 No. 3 in D major; P VIII:42 – String Quartet Op. 50 No. 1 in F major; P VIII:43 – String Quartet Op. 50 No. 2 in B flat major
Concerto No. 5 in F-sharp Minor for cello and orchestra Op. 30; Concerto No. 6 in F major (Militaire) for cello and orchestra Op. 31; Concerto No. 7 in C major (Suisse) for cello and orchestra Op. 44; Concerto No. 8 in A major (Brillant) for cello and orchestra Op. 48; Concerto No. 9 in B minor (Grand) for cello and orchestra Op. 56
Op. 90: String Quartet No. 2 in A major (1857) Op. 136: String Quartet No. 3 in E minor (1866) Op. 137: String Quartet No. 4 in A minor (1867) Op. 138: String Quartet No. 5 in G major (1867) Op. 192: Three String Quartets (1874) No. 6 in C minor, Suite in Ancient Style; No. 7 in D major, The Maid of the Mill; No. 8 in C major, Suite in Canon Form
George Enescu: Octet for Strings in C Major, Op. 7 (version for string orchestra); Quintet for Piano and Strings, Op.29. Kremerata Baltica; Gidon Kremer, cond. Octet recorded at Angelika-Kauffmann-Saal, Schwarzenberg, Austria, June 2000. Quintet recorded at Probesaal der Philharmonie Rheinland-Pfalz, Luswigshafen, Germany, November 2001.
The Piano Concerto No. 6 in C major, Op. 123, by Ferdinand Ries was composed around 1806. Composed in a proto-Romantic style, similar to the concertos of Johann Nepomuk Hummel , it also shows evidence of the influence of Beethoven 's C minor Piano Concerto, Op. 37 which Ries had performed at his public debut in 1804.
Opening bars from Op. 48 No. 1. The Nocturne in C minor, Op. 48, No. 1 is initially marked lento and is in 4 4 meter. In general, the scheme of the music is ternary form and follows the structure A–B–A′. [3] The piece becomes poco più lento at measure 25 and enters its middle section
[25] [26] Three years later Wolfgang Amadeus Mozart incorporated the Musette from Op. 6, No. 6, and a short Largo from Op. 6, No. 7, into his reorchestration of Acis and Galatea, K 566. [27] Like Handel's organ concertos, in the nineteenth century his concerti grossi Op. 6 became widely available in versions for piano solo, piano duet and two ...