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Kogosowski put these together as a three-movement work and performed it under the misleading title of "Chopin's Piano Concerto No. 3 in A major" on 8 October 1999, with the Detroit Symphony Orchestra under Neeme Järvi. Austrian pianist Ingolf Wunder orchestrated and recorded it with the Warsaw Philharmonic Orchestra in 2015 for Deutsche ...
Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
Franz Liszt's Piano Concerto No. 3 in E-flat major, Op. posth. , was possibly composed in 1839. It is believed that this piece was composed before the first two concertos, but the dating is inconclusive as there are claims it was not finished until 1847. Like his second piano concerto, it is a one-movement piece.
Piano Concerto No. 3 refers to the third piano concerto written by one of a number of composers: Piano Concerto No. 3 (Balada), by Leonardo Balada, 1899; Piano Concerto No. 3 (Bartók) in E major (Sz. 119, BB 127) by Béla Bartók, 1945; Piano Concerto No. 3 (Beethoven) in C minor (Op. 37), c.1800; Piano Concerto No. 3 (Chopin) (Allegro de ...
Chopin: Piano Concerto No. 1 in E minor (Op. 11), transcription for solo piano (c1865?)* Chopin: Piano Concerto No. 2 in F minor (Op. 21), 2nd movement, transcription for solo piano [reconstructed] Clementi: Gradus ad Parnassum (Op. 44), edited and fingering by Tausig [see also selections in Paraphrase section]
Franz Liszt, after an 1856 painting by Wilhelm von Kaulbach. This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers.. These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions.
Johann Nepomuk Hummel's Piano Concerto No. 2 in A minor, Op. 85 was written in 1816 and published in Vienna in 1821. [1]Unlike his earlier piano concerti, which closely followed the model of Mozart's, it is written in a proto-Romantic style that anticipates the later stylistic developments of composers such as Frédéric Chopin, Franz Liszt and Felix Mendelssohn. [2]
Together with a number of rondos (Opp. 1, 5, 16 and 73), the Polonaise brillante and the Variations on "Der Schweizerbub", Chopin's compositions for piano and orchestra belong to a group of compositions in brilliant style, no longer confined by the tenets of the Classical period, which were written for the concert stage in the late 1820s to early 1830s.