Please show your appreciation by supporting the site with a contribution here: Andrew Eales is the author of HOW TO PRACTISE MUSIC, published worldwide by Hal Leonard. Through imitative counterpoint, the opening material wells up rather than beginning to echo away, and thus confirms the reality of the epiphany as the music finds its way to "be" an assurance of its own continuity. But these two B sections nonetheless function very differently in their different contexts, and I shall conclude by contrasting the kinds of large-scale musical continuities that the two pieces generate. 2 in A-flat Major: Liszt - Consolation: Lento placido - S . "9 But also central to my conception of the piece is a contrast that I would like to characterize more fully than Moss, Schachter or Rothgeb chose to do in their analyses: the music of the B section progresses in a normative melodic and harmonic way from one phrase to the next. Until the end of measure 5, the music continues to reverberate, losing tension. 94/6) Share on facebook twitter tumblr Description by James Leonard [+] Although it hardly matters in a technical description, one might easily pick the last of Schubert 's six Moments musicaux, Op. Published in 1828, the year Schubert died, and written between 1823 and 1828, the six Moments Musicaux (literally "musical moments") are amongst Schubert's best-loved works for piano and are as accessible to the competent amateur pianist as they are to the concert artist. Since several reliable and detailed analyses of the first have appeared in print, my comments on this piece will necessarily refer to and elaborate on points made in these analyses.5 The one published analysis I know of the second, by Patrick McCreless, differs so markedly from mine in emphasis that I shall not refer to it in any detail in my own observations.6. It has been published annually by the Music Theory Society of New York State since 1975. This sense of tension and release allows the music to relax, thus enriching our experience of the movement. The major mode of this cadence signals another quiet "moment musical," not only transforming the mood of this ending, but bringing it tonally closer to the major of the surrounding sections (in that major has six flats, closer to major's four than was minor's nine). Free sheet music : Schubert, Franz Peter - 6 Moments Musicaux op. 94, No. 7See Schachter, "A Schenkerian Analysis," 172-74 and Rothgeb, "Another View of Schubert's Op. Thus the opening music finds its way to the kind of continuity that the trio or central episode then celebrates. 94 D 780, Schubert: Impromptus; Moments musicaux; Piano Sonatas, Schubert: Piano Sonata in A, D. 959; 6 Moments Musicaux, Schubert: Piano Sonatas D960, D459 and D840, Schubert: Sonate D 959; Moments musicaux D 780, Schubert: The Complete Piano Sonatas and the Other Major Works for Piano, Vol. In the eight-measure phrase that opens this pastoral scene, the third and fourth measures already dwell in the reverberation of the first two, reducing their tension rather than building from them toward an anticipated goal. 1 The analysis of musical masterworks makes frequent use of concepts and phe- nomena that are not specifically musical in origin, concepts that derive Six is a piece you might contemplate at age twenty-five and think, Easy! One hears primarily a succession of moments, each of them poignantly individualized; only subordinately does one hear the way these moments combine to produce complete phrases and cadential resolutions. 3 Schubert Musical Moment No.3 in F minior Seong-jin Cho - Schubert 'Moments musicaux' Op.94-3 . 1 in C major is a minuet in the absolute abstract, meaning that, just as with a Chopin waltz, the music transcends all human footwork. But minor, with its nine flats, could hardly be more remote from the major of the opening music, even if the melodic of that opening's first cadence has intimated this strange key. Franz SchubertMoment Musical Op.94 (D.780) No.6 in A flat MajorAlfred Brendel: piano A move to E major during the second half of the minuet-proper (as opposed to the trio section) sounds somehow full of resignation; the modulation back to A flat a few measures later is absolutely heartwarming. Only in this last subphrase does the bass, too, become more active. The experience of this contrasting episode seems incompatible with that of the opening music, and this experience has to occur again, more intensely, to break itself open in order to come into interaction with that other experience (of the A parts) within which it is embedded. Admittedly, it is unlikely that Schubert intended the title to refer specifically to such moments.2 Like "Impromptu," "Moment Musical" conveys a general sense of the improvisatory, the unpremeditated in contrast to deliberate, functionally articulated composition in sonata forms. If these readings could be taken together, their observations would combine to make of the second phrase a kind of microcosm, a large-scale echo, of the first. 1, 3 & 6, Icon: Claudio Arrau - Virtuoso Philosopher of the Piano, Radu Lupu: Complete Decca Solo Recordings, Artur Schnabel - Scholar of the Piano [Box Set], Internationaler Schubert-Wettbewerb Klavier: First Prize Winner 2007, Mikhail Mordinov Plays Schubert & Rachmininoff, Schubert: Deutsche Messe F-Dur, D 872; Moments Musicaux Nos 1-6, Op. To assist in the Moments musicaux, D780 Op 94 composer Franz Schubert (1797-1828) 1828; originally titled Momens musicals Nikolai Demidenko (piano) Download all MP3 4.20 View whole album Other recordings available for download Llr Williams (piano) More 'On these two CDs you hear two hours and 20 minutes of the most wonderful piano music anyone has ever written. 4 is Valse Caprice, for piano in A flat, very brilliant; op. Startseite > Uncategorized > schubert, moment musical no 6 analysis. 3 - Sibelius File. Contained within this rst volume are 4 Ballades, 27 Etudes, 21 Nocturnes, 27 Preludes, and 19 Waltzes which highlight the brilliance of Chopin. View all posts by Andrew Eales. Beneath these "natural sounds," the opening motto returns as an epiphany, without harmonic preparation, in the "moment musical" I have already described in the introduction. n2bf Many still think that Schubert felt especially at home in these pieces because they resemble songs more closely than sonatas, and so suit his predominantly lyrical temperament. She taught me that Schubert sometimes used the staccato mark as an gentle accent, and not as a staccato. music. At the return of this B section's main idea (m. 51), the point corresponding to the return of the opening in the A section, a kind of negative "moment musical" occurs: G minor replaces G major for the antecedent phrase, as if to question the memory of that return along with the self-assurance achieved in this B section. 7), unexpectedly loud and impassioned, and so even more in contrast with the music of the A sections. The Quartet Op. It has that music in its thrall, and influences or even causes its tonal digressions: thus minor and major lie between major and an already implicitly present minor, and arise as disturbances of the -major music because of the underlying psychic force of the still unintegrated memory that the -minor region embodies. 0
94, NO. Six Moments Musicaux, Op. 19, Schubert: Piano Sonata in C minor, D. 958; Six moments musicaux, D. 780, Schubert: Moments Musicaux; Piano Sonata in B Flat, Schubert: Moments Musicaux; Piano Sonata; Mazzoli: Isabelle Eberhardt Dreams of Pianos, Schubert: Piano Sonatas; Moments musicaux, Westminster Legacy: The Collector's Edition, Vol. %PDF-1.5
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94, No. Murray Baylor. He magnifies the melody now in accented chords instead of a single note, when one bar earlier we were in a serene aura of A flat major, believing all was well. 3-4), its high g2 thus becoming a melodic goal. V: Allegro vivace 2/4 6 Moments Musicaux, Op 94. sku# 50415510 ; $16.95. Size 10.0 Source 78 User_cleaned Bai Konte Johnson User_metadataentered Jake Robinson User_transferred Jake Robinson The repetition of a quarter and two eighths forms the main material and its reiteration throughout the work, resulting in a driving, close to nagging force. 3 in D, BWV 1068 Mendelssohn: Andante con moto tranquillo from Piano Trio No. Moments Musicaux Air Russe Franz Schubert 1797 - 1828 Op. The new Wiener Urtext (UT 50410) is edited by Ulrich Leisinger, and drawn from the larger publication which also includes the Impromptus. 49 Schubert: Nacht und Trame, D. 827 Haydn: Adagio Vivace assai from Symphony No. Like the "Wanderer" of Schubert's C Major Fantasy, Op. 84; Visions fugitives, Op. 1, mm. But the discontinuities, the sudden radical changes, the "moments musicaux" in the sense I have indicated, are as characteristic of Schubert as his songfulness. Print Music. 12See also McCreless' "Addendum: A Note on Performance.". Schubert Impromptu Opus 90 No. All rights reserved. 42-44) at the middle of the second A section of the second Moment Musical sounds imaginary in this way. But when the third measure exactly reiterates its own upbeat as its downbeat, and follows this accent-concealing repetition with a leap up to 1 on its second beat, the listener will probably hear the initiating upbeat as the downbeat of a 6/8 measure, followed by another 6/8 measure beginning on the 2.11 Retrospectively, this listener will experience confusion (even if in the form of poignant questioning) about the metrical placement of the opening gestures as well. Grove's Dictionary of Music and Musicians, 5th ed. This music sheet has been read 29118 times and the last read was at 2023-01-31 17:45:25. The third piece, in F minor, was composed in . By measure 35 we are restored to a harmonious balance, at least for a while. The preceding "development," however, is very short, and does not prepare in any customary way for the return of the theme. . Schubert Moments Musical Op 94 No 1 Complete Original Version. Remaining fundamentally within the tonic harmony, this second subphrase smooths out the rhythmic and melodic contours of the opening one: a second flowing triplet in measure 3 replaces the angular dotted rhythm at the end of measure 1; a repetition of g1 at measure 4 replaces the striking leap up to e2 of measure 2; and a falling figure in eighth notes, filling in a third, takes the place of the tense, agogically stressed half-note of the opening motto. The second Moments musicaux is an Andantino in A flat major, taking the shape of a gentle five-part rondo. Tchaikovsky "Nutcracker" Suite. Featured. 94, No. The centenary of Franz Schubert's death in 1928 regenerated interest in his piano sonatas, fantasies, and moments musicaux escalating his popularity and prompting discussion and speculation pertaining to his catalogue. 4 and 6, in relation to the same device. Moments musicaux, D.780 (Schubert, Franz) - IMSLP: Free Sheet Music PDF Download Moments musicaux, D.780 ( Schubert, Franz) Performances Recordings ( 16) Commercial ( 77) Synthesized/MIDI ( 1) Complete Complete Performance #373568 - 29.40MB - 25:41 - 9/10 2 4 6 8 10 (10) - 7799 Play MP3 file (audio) Cypressdome (2015/4/10) 1. 3Carl Schachter, "A Schenkerian Analysis." Free Piano Sheet Music - Moments Musicaux Op. Only then, in measure 7, does the melody suddenly take flight, rising in one quiet breath from 1 up to an ephemeral 2, and then falling back to its first harmonically supported cadence, on 2. W.M. 1Edward T. Cone, "Schubert's Promissory Note: an Exercise in Musical Hermeneutics," Nineteenth-Century Music 5/3 (Spring 1982): 233-41. Schubert's Winterreise (Winter Journey), published in 1828, is a song cycle of 24 movements for voice and piano. Also "Structure and Style in the Greater Romantic Lyric" in Harold Bloom, ed., Romanticism and Consciousness (New York: Norton, 1970), 201-29. No. endstream
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Schubert, Moment Musical, Op. 5, the piano Romance much played by Rubinstein; op. 81-82 with 16-17). VI: Allegretto 3/4 After the high, accented, calling third in measure 2, measure 3 begins again with the opening g1, but now alone, without its octave doubling. Schubert, F Impromptus Op90/D899 Pf - Associated Board of the Royal Schools of Music (Publishing) Limited . Compare Abrams' characterization (p. 271) of the class of poems he discusses with my "metaphor" for the second Moment Musical: "The speaker begins with a description of the landscape; an aspect or change of aspect in the landscape evokes a varied but integral process of memory, thought, anticipation and feeling which remains closely interinvolved with the outer scene. One metaphorical interpretation of this piece might make the B section into a disturbing memory. Perhaps the focal aim of my analysis, on the other hand, is to arrive at a convincing account of this five-part form. 4-5) and the one at the midpoint (mm. %%EOF
Both F-minor Moments Musicaux, Nos. The second, confronted with the image or memory of a distant song, uses this recognition to draw a song from its own opening music. Soon, however, a crescendo builds, falls, and builds once again on its way back to the devilish opening chords. 31-34 and 69-72) and thus signals the integration of those contrasting episodes into their present major environment. Most of them were composed during 1827 or 1828, with the exception of Nos. ]. 3 and 6, dating from 1823 and 1824 respectively. 24-25 with mm. Therefore this first remembrance of it does not fully dispel its psychic force, and accordingly the second A section still contains a tonal deflection toward minor in its fragmentary -major phrase (mm. In the B section of the piece, as Schachter writes, "the rhythms are repetitive and symmetrical in contrast to the fluid prose rhythms of the A part; the character is more given, more real than that of the searching, mysterious opening section. m. 81 with mm. Just as noteworthy as the melodic and harmonic subtlety of this opening is its metrical ambiguity.10 In the first two measures, a listener might at first correctly identify the downbeats with the long notes, notated as dotted half-notes. 48), k.d. 3 and 5, end this way, as does the -minor contrasting material of No.2. Exactly when Schubert wrote them is unclear. 94) No. However, by July 1828, when the 6 Moments musicaux were published, Schubert was in no position to argue such matters -- not only was he absolutely destitute, he was also fighting a losing battle for his very life. Supplementing the Dover edition of Schubert's complete piano sonatas, this volume contains all of the remainder of Schubert's music for pianoforte solo (except the dances and a few unfinished pieces): the ever popular "Wanderer" fantasy, Opus 15; the 8 impromptus (Opp. 8, mm. 6 (BB 119; Sz. I absolutely love Schubert's Moments Musicaux, all of them (also playing all). Posth. "4 Until the return of its opening motto, each subphrase of the A section begins by echoing, by rehearing some part or aspect of the preceding subphrase. features six performances (by one performer) of the work and evaluates musical structure. Piano. Using the Moment musical in A major, D. 780 (Op. 6, mm. Preview schubert moments musical op 94 no 1 complete original version is available in 2 pages and compose for intermediate difficulty. The music provides the pianist, with a repertoire .your number one expert in sheet music, musical accessories, with stores in Antwerp and Leuven. The quiet surprise of this cadence dramatically counterbalancesor even negatesthe jarring one encountered in the forte beginning of this second B section. The ensuing -major cadence leads into a coda, where reiterated off-beat s help to clarify its now dancing meter, and where an initially sequential reinterpretation of the opening melody (mm. Users of this site and the piano sheet music library agree to be bound by Piano Street Terms and Conditions TTP: 0.035s. 94, Franz Schubert: Sonata in B flat Major; 6 Moments Musicaux; 10 Waltzes, Schubert: Impromptus, Opp. 1 - Moment Musical no. Again, as in the "Wanderer" Fantasy, a disruptive element related to the presence of an underlying but initially unintegrated songhere the ultimately returns in an integrative role. A flat, that tender key, travels through E major and D flat major, but in the end comes home to A flat. Of course, Schubert's String Quartet in D minor (D. 810; 1824), popularly known as the 'Death and the Maiden' quartet for its slow movement, which consists of five variations on the melody of his lied, Der Tod und das Mdchen (D. 531; 1817), must be the most famous of Schubert's instrumental works associated with mortality. But Schachter's reading reveals a deeper parallelism: the second phrase, like the first, simply dwells, for all the appearance of harmonic movement on its surface, within its tonic triad, only departing from it at the last possible moment (m. 12). 71, No. Each quartet begins with a gesture that grabs attention, yet the ideas are well suited to the medium of the string quartet. Qty . displayed in performance of Chopin's Prelude in E Minor Op 28 no. Arraus The Final Sessions account is very moving but O/P. Combining some of the most beautiful piano works by Schubert, this edition contains 14 pieces that will challenge late intermediate to early advanced pianists. The coda comes once again, but the stronger -major cadence in measures 81-82 now confers on it a greater sense of finality than it had the first time. 1 (Piano solo) MUSIC LIBRARY Create a playlist Schubert, Franz Peter Austria (1797 - 1828) 1,321 sheet music 798 MP3 302 MIDI SUBSCRIBE 60 Sheet music menu: BROWSE BY DIRECTORIES BROWSE BY OPUS BROWSE BY OPUS [Op.] 94 Author: Franz Schubert (1797-1828) Created Date: endstream
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<. 2b).1. But Schubert's changes to major sound more often like inner transformations than like mere changes of mood: instead of introducing new material in the major mode into a context of the minor, Schubert typically transforms the same or almost the same gestures that were minor into major, as if the minor-mode music wanted to be major all along and is finally allowed to be. 94) is a collection of six short pieces for solo piano composed by Franz Schubert. Only here does the main theme begin to find within itself the definition and continuity it has sought. 161. At the same time, the rhythmic compression of the phrase just heard, obscuring the triple meter beneath groups of two beats and then even of one, makes the new ostinato rhythmically ambiguous. For the purposes of this edition, Leisinger has also referred to the original publications of numbers 3 and 6 in the Album musicale of 1823, as well as cross-referencing with the Diabelli edition of 1831. Along with the Impromptus, they are among the most frequently played of all Schubert's piano music, and have been recorded many times. Five, in F minor, is a fast and furious. 6, mm. ; and of the String Quartet in G major, Op. But in spite of these continuities, the contrast between major and minor underscores how markedly this new music contrasts with the preceding music in texture, metrical clarity, and harmonic and melodic direction. Moment Musical, op 94 no 6. 90 and 142), experimental forerunners of one of the typical genres of the later Romantic composers; the Moments Musicals, Opus . While today his Sonatas are staples of the recital hall and recording studio alike, in their day it was the smaller works, the two sets of Impromptus and the six Moments musicaux Op.94 which achieved more immediate popularity. 22; Schumann: Nachtstcke, Op. 34, B 94 No. The -major chord still reappears, briefly tonicized (m. 80). 94, D. 780 : Moment Musical in C major, D. 780, Op. The transition back to the A section retains the texture of the contrasting episode, but brings to that texture a kind of voice-leading foreign to it thus far. 9 in B major; Piano Sonata No 11 in F minor; Moments Musicaux Nos. Measure 30 is heaven in triplets a luscious spot in G major repeated verbatim but in the minor mode at measure 51. The , which first appeared as the isolated melodic high point of the first cadence in the piece, now re-emerges as the supporting dominant bass. But in another way, the B sections of these two pieces stand in opposite relation to their respective A sections. The Lupu and Kempff can be found only via their Schubert boxes. This is not to deny that Schubert's songs, too, abound with such moments. The openings long two-note slurs pull at us as much when they are discordant as when they resolve. Piano Comb Bound Book. 62 ppp 67 dim. Thus measure 10 registers clearly as a semicadence in A minor; but its echo in measure 11, where a repeated g1 replaces the inner-voice progression a1-1, makes that semicadence and its tonality seem illusory in retrospect, because in that echo one is hearing the same musical shape again, but in rehearing it, hearing it as something different. Schubert: Sonata in B flat major; Impromptu in A flat major; Moments musicaux, Schubert: Sonata; Six Moments Musicaux Op. 3 in D-flat Major. 9-12) emerges even more tentatively, ambiguously, its goal unclear right up to its G-major cadence. Live Music Archive Librivox Free Audio. After touching on A minor and G major, this central, developmental passage (Ex. Schubert plays with listeners' harmonic expectations in the cleverest and most moving of ways. I think this piece is probably the most poetic and introspective of the set. pianostreet.com - the website for classical pianists, piano teachers, students and piano music enthusiasts. hb`````ZAX+/jak4/Im )K7pt0t4 WTH08FI> 94), a collection of six short pieces for solo piano composed by Franz Schubert. The Moments musicaux were composed during 1827 and 1828, the third and last pieces, which were written during 1823 and 1824, excepted. One of his most significant innovations, arguably, is the integration of such "moments musicaux" into song, as one way of embodying in music the developing actions and changing mental states in the poems he set. But after six measures, where minor appeared before, major now suddenly appears (Ex. But with few notes and the simplicity of a song Schubert delivers wisdom and depth. Thus one might take the term "moment musical" to characterize several types of special, transformative or conflictual moments in Schubert's music, moments that figure prominently in every one of the pieces bearing this title. 82; Etudes Symphoniques Op. 94; Schumann: Phantasiestcke, Op. Indeed the melodic high point of the first cadence (mm. The final piece of D. 780 is an Allegretto in A flat major that returns to the otherworldly minuet variety of the first piece. Andantino in A major. I:94 Mozart: Molto Allegro from Symphony No. Of course this Schubertian device has many precedents in tonal music, Picardy thirds and Maggiore variations among the simplest of them. McCreless only suggests "that the final B' and A" sections are needed to restore tonal balance in a purely durational sense." But just before it arrives, the beginning of this new phrase has also been pre-echoed by the two preceding measures: the melody drives home the b1 just established. While connected through this -major harmony to the A section and related to it motivically, the music of the B section subverts rather than affirms what the A section has hesitantly established. Each is composed in a sectional form and many are dances of some kind. data" from the body of the performer.98 While some resulting data was unclear . V: Allegro vivace 2/4 Gesturally, the G-E note-pairs that follow merely echo this climax, as if to open a clearing for a fuller E-minor music to follow. 94, D. 780 : Moment Musical in A flat major, D. 780, Op. 172 No. 94; Wanderer Fantasy, Schubert: The Complete Piano Works (Box Set), Sergei Prokofiev: Piano Sonata No. 2, as a test case, this paper offers a view which resists the pressure to explain idiosyncratic musical events as contributing to a greater whole, demonstrating that conceptions of unity need not accompany tonal hierarchical systems; it also shows how Schubert's use of tonality and The contrasting sections of this five-part form thus unfold in a dynamically evolving relationship to each other, quite unlike the symmetrical relationship of contrasting but complementary tableaux in the first piece. Its metrical context dismantled in the preceding climax, this ostinato seems to recover to this music the natural soundsI have characterized them as cuckoo callsthat it imitates. The editor has included a discussion of the life and works of Schubert, specific directions on how to perform and 10, two piano pieces . It is composed in as textbook a rounded binary form as one might imagine. 'Schubert's Promissory Note'.1 Discussing the Moment musical in Ab major (Op. Measure 114 marks the return of the opening material and brings us almost to the end. Moments of sudden, in some ways disjunctive tonal and textural change, at times like catharses or wished-for catharses, at others like fallings from grace, occur frequently in Schubert's music, and especially so in the Moments Musicaux. 90 & posth. 34, B64 No. 6, Pathtique). The third piece was composed back in 1823. The musical rhetoric of melancholy, uncanny, acoustic mirroring, alienation and other subjectivity mechanisms are tracked in the music of Chopin (Nocturne C minor Op. 212 0 obj
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It first proceeds similarly to the second phrase-group of the first A section, up through the one-measure subphrase tonicizing major (cf. Only the hemiolas of the next two measures, along with their mercurial harmonic changes, recover the energy of the opening gesture. 10-11) of the four-measure phrase after the double bar. No accentuation re-establishes the triple meter; instead the note-pairs resound like isolated cuckoo-calls. A Schenkerian Analysis of Schubert's Moment Musicaux in Ab, Op. 2, Franz Schubert: Sonata in B flat, D. 960; Moments Musicaux; Hungarian Melody, Franz Schubert: Wanderer-Fantasie, D 760; Moments Musicaux, D 780; Sonata in C minor, D 958, Schubert: Piano Sonata D 960; Moments Musicaux, Schubert: Piano Sonatas; Impromptus; Musique musicaux, Schubert: Piano Sonata D.845; Wandererfantasie D.760; 4 Impromptus D.935; Moments Musicaux D.780, F. Schubert: Piano Sonata No. Even as the second phrase finally makes a definite move away from the tonic-triad territory of the first, it continues to reverberate with what has already been heard: from the end of measure 11 through measure 12, its melody echoes (as Rothgeb points out) that of measures 7-10, which joined the first two phrases. 6Patrick McCreless. Suddenly a dramatic schism occurs at measure 18 in both key (F sharp minor) and mood again, Jane Eyre! Although its first phrase has six measures and its second, eight, these two phrases together clearly suggest a parallel period, the first phrase leading to a semicadence, the second responding to an unambiguous demand for a perfect authentic cadence. 16Anthony Newcomb used the same term in relationship to Mahler's Ninth Symphony in a paper delivered at a Symposium at Dartmouth College in May 1988. 12; Schoenberg: Sechs kleine Klavierstcke Op. Music Analysis with Sets. 6). Moreover, its melody, though simpler, explores the same kind of neighbor motionnow around (=)as the A section's melody. 21, D. 960; Moments musicaux, D. 780, Schubert: Moments musicaux, D780; Impromptus, D935; Piano Piece, D604, Schubert: Piano Sonata, D. 958; Moments Musicaux, Schubert: Piano Sonata, D568; Moments musicaux, D780, Franz Schubert: Sonate D. 894; Moments Musicaux D. 780, Schubert: Trout Quintet / Moments Musicaux, Schubert: Trout Quintet; Moments musicaux, Great Pianists of the 20th Century: The Complete Edition (Box 1), Great Pianists of the 20th Century: The Complete Edition (Box 2), Liszt: Liebestrume; Schubert: Moments Musicaux; Mendelssohn: Lieder ohne Worte, Schubert: Piano Sonata in D, D. 850; Moments Musicaux, D. 780; Impromptus, D. 899, 3 & 4, Schubert: Piano Sonata in G/Moments musicaux, Schubert: Wanderer Fantasie; Moments Musicaux; Selected Waltzes, Schubert: Moments Musicaux, D. 780; Piano Sonata in C minor, D. 958, Schubert: The Impromptus; Moments musicaux, Franz Schubert: Piano Sonata D960; Moments musicaux D780, Schubert: 8 Impromptus D 800 & 935; 6 Moments musicaux D 780, Schubert: Complete Impromptus; Moments Musicaux, Schubert: Klavierstuck In A/13 Variations/Six Moments Musicaux/Four Impromptus, Schubert: Moments musicaux D780, Op94; Piano Sonata in Am No14, D784, Op143, Franz Schubert: Sonata in A Major D. 959; Moments Nusicaux Op. 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