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Medtnaculus
United Kingdom
Приєднався 30 кві 2015
A channel focussed on uploading Classical music accompanied by sheet music.
The purpose of this channel is to bring to light obscure and neglected composers -- the unsung masters.
An extra focus is applied to finding the impressionistic and Scriabinesque, though all styles may be found here.
No copyright infringement is intended. These videos are uploaded in the spirit of Fair Use section 107.
If a rights holder has issues with any videos here, please contact me via private message and I will remove them.
The purpose of this channel is to bring to light obscure and neglected composers -- the unsung masters.
An extra focus is applied to finding the impressionistic and Scriabinesque, though all styles may be found here.
No copyright infringement is intended. These videos are uploaded in the spirit of Fair Use section 107.
If a rights holder has issues with any videos here, please contact me via private message and I will remove them.
Franz Liszt ‒ Années de pèlerinage, troisième année, S163
Franz Liszt (1811 - 1886), Années de pèlerinage, troisième année, S163 (1877)
Performed by Jeno Jando
00:00 - No. 1 Angelus! - Prière aux anges gardiens
07:03 - No. 2 Aux cyprès de la Villa d'Este - Thrénodie I
13:22 - No. 3 Aux cyprès de la Villa d'Este - Thrénodie II
22:41 - No. 4 Les jeux d'eaux à la Villa d'Este
30:03 - No. 5 Sunt lacrymae rerum - en mode hongrois
37:18 - No. 6 Marche funèbre - en mémoire de Maximilien I, Empereur du Mexique, d. 19 juin 1867
42:56 - No. 7 Sursum corda - Erhebet eure Herzen
The genesis of the Troisième Année de pèlerinage is very different from that of its two predecessors. The first (Suisse), and the second (Italie) were brought into their published shape in the mid-1850s during Liszt’s time in Weimar, although most of the pieces actually originated during the period of his young wanderings in the company of Marie d’Agoult in the 1830s. They are both volumes of intensely passionate, essentially young man’s music, whatever refinements accrued to them. The third volume, sometimes very mistakenly published with the subtitle of ‘Italie’, is the product of a fundamentally solitary person, written during the later years of his life, when he made an almost annual triangular trip through Rome, Weimar and Budapest. Five of the pieces date from 1877, but Liszt added two earlier works: numbers 5 and 6, from 1872 and 1867. Angelus! also exists in versions for harmonium, for string quartet and for string orchestra and is an innocent diatonic melody in a lilting 6/8. It forms the beginning of the arch which ends in the experience of the seventh piece, Sursum corda-the exhortation to ‘lift up your hearts’ at the Eucharist-where a benign theme endures chromatic rigours and even a burst of whole-tone harmony before the strength of faith brings the cycle to a firm and positive conclusion. Midway lies the mystical comfort of the Fountains of the Villa d’Este-an impressionistic masterpiece, years ahead of its time and much imitated, consciously or no, by Debussy and Ravel. Although this work is pictorial, its very key of F sharp major allies it to a number of Liszt’s most intimate religious reflections, particularly Bénédiction de Dieu dans la solitude, and its message is spelt out at bar 144 (at the modulation to D major) with a quotation (in Latin) from the Gospel of St John: ‘The water that I shall give him shall be in him a well of water springing up into everlasting life’ (Authorised Version, John 4: 14).
The four remaining pieces are all elegiac: the two Cypresses are both subtitled ‘Threnody’ although no specific object of lamentation is divulged. And it is clear that Liszt wrote the second under the misapprehehsion that Michelangelo had planted the first cypress at Santa Maria degli Angeli in Rome, and that he changed the title when he discovered his error. Whilst the first of the Cypresses is nominally in G minor/major, the effect of suspended tonality is present from the beginning. There is some attempt here at depicting (in 3/4) the rocking of the trees in the wind, a feature altogether absent in the second threnody which makes an oblique nod towards the traditional funeral march without ever succumbing. The other two elegies refer to Liszt’s personal acquaintances: in a broad sense in Sunt lacrymae rerum and specifically in the Marche funèbre. The first of these, originally entitled ‘Thrénodie hongroise’ refers to the rout of the Hungarian War of Independence (1848-1849) and the subsequent execution of some of Liszt’s patriotically distinguished friends (cf the earlier Funérailles) and the final title comes from words spoken by Aeneas in Virgil’s Aeneid (quoted here in the translation by W F Jackson Knight): ‘… there is pity for a world’s distress, and a sympathy for short-lived humanity.’ The music has several overtly Hungarian characteristics, especially in the matter of augmented seconds in the melodic lines. The hapless quondam archduke who became Emperor of Mexico, mistakenly believing himself to have been popularly elected, who attempted social and economic reforms, and who was eventually executed by the man he replaced, is commemorated in a powerful lament which emerges into triumphant optimism, in line with the quotation from an elegy by Propertius (Book 2, No 10) which Liszt placed at the head of the score: ‘In magnis et voluisse sat est’ (‘To have wished for great things is an accomplishment in itself’).
Performed by Jeno Jando
00:00 - No. 1 Angelus! - Prière aux anges gardiens
07:03 - No. 2 Aux cyprès de la Villa d'Este - Thrénodie I
13:22 - No. 3 Aux cyprès de la Villa d'Este - Thrénodie II
22:41 - No. 4 Les jeux d'eaux à la Villa d'Este
30:03 - No. 5 Sunt lacrymae rerum - en mode hongrois
37:18 - No. 6 Marche funèbre - en mémoire de Maximilien I, Empereur du Mexique, d. 19 juin 1867
42:56 - No. 7 Sursum corda - Erhebet eure Herzen
The genesis of the Troisième Année de pèlerinage is very different from that of its two predecessors. The first (Suisse), and the second (Italie) were brought into their published shape in the mid-1850s during Liszt’s time in Weimar, although most of the pieces actually originated during the period of his young wanderings in the company of Marie d’Agoult in the 1830s. They are both volumes of intensely passionate, essentially young man’s music, whatever refinements accrued to them. The third volume, sometimes very mistakenly published with the subtitle of ‘Italie’, is the product of a fundamentally solitary person, written during the later years of his life, when he made an almost annual triangular trip through Rome, Weimar and Budapest. Five of the pieces date from 1877, but Liszt added two earlier works: numbers 5 and 6, from 1872 and 1867. Angelus! also exists in versions for harmonium, for string quartet and for string orchestra and is an innocent diatonic melody in a lilting 6/8. It forms the beginning of the arch which ends in the experience of the seventh piece, Sursum corda-the exhortation to ‘lift up your hearts’ at the Eucharist-where a benign theme endures chromatic rigours and even a burst of whole-tone harmony before the strength of faith brings the cycle to a firm and positive conclusion. Midway lies the mystical comfort of the Fountains of the Villa d’Este-an impressionistic masterpiece, years ahead of its time and much imitated, consciously or no, by Debussy and Ravel. Although this work is pictorial, its very key of F sharp major allies it to a number of Liszt’s most intimate religious reflections, particularly Bénédiction de Dieu dans la solitude, and its message is spelt out at bar 144 (at the modulation to D major) with a quotation (in Latin) from the Gospel of St John: ‘The water that I shall give him shall be in him a well of water springing up into everlasting life’ (Authorised Version, John 4: 14).
The four remaining pieces are all elegiac: the two Cypresses are both subtitled ‘Threnody’ although no specific object of lamentation is divulged. And it is clear that Liszt wrote the second under the misapprehehsion that Michelangelo had planted the first cypress at Santa Maria degli Angeli in Rome, and that he changed the title when he discovered his error. Whilst the first of the Cypresses is nominally in G minor/major, the effect of suspended tonality is present from the beginning. There is some attempt here at depicting (in 3/4) the rocking of the trees in the wind, a feature altogether absent in the second threnody which makes an oblique nod towards the traditional funeral march without ever succumbing. The other two elegies refer to Liszt’s personal acquaintances: in a broad sense in Sunt lacrymae rerum and specifically in the Marche funèbre. The first of these, originally entitled ‘Thrénodie hongroise’ refers to the rout of the Hungarian War of Independence (1848-1849) and the subsequent execution of some of Liszt’s patriotically distinguished friends (cf the earlier Funérailles) and the final title comes from words spoken by Aeneas in Virgil’s Aeneid (quoted here in the translation by W F Jackson Knight): ‘… there is pity for a world’s distress, and a sympathy for short-lived humanity.’ The music has several overtly Hungarian characteristics, especially in the matter of augmented seconds in the melodic lines. The hapless quondam archduke who became Emperor of Mexico, mistakenly believing himself to have been popularly elected, who attempted social and economic reforms, and who was eventually executed by the man he replaced, is commemorated in a powerful lament which emerges into triumphant optimism, in line with the quotation from an elegy by Propertius (Book 2, No 10) which Liszt placed at the head of the score: ‘In magnis et voluisse sat est’ (‘To have wished for great things is an accomplishment in itself’).
Переглядів: 143 368
Відео
Franz Liszt ‒ Venezia e Napoli, Années de pèlerinage II, Supplément, S.162
Переглядів 165 тис.8 років тому
Franz Liszt (1811 - 1886), Années de pèlerinage II, Supplément, S.162 (1859) Performed by Jeno Jando 00:00 - No. 1 Gondoliera 04:26 - No. 2 Canzone 07:32 - No. 3 Tarantella Venezia e Napoli is usually waved away as a rather insignificant group of encore pieces, but while they are obviously lighter fare, they merit high praise for their sheer beauty and ingenuity. Each piece is based on what was...
Franz Liszt ‒ Années de pèlerinage, deuxième année - Italie, S161
Переглядів 219 тис.8 років тому
Franz Liszt (1811 - 1886), Années de pèlerinage, deuxième année - Italie, S161 (1837/1849) Performed by Jeno Jando Années de pèlerinage, deuxième année - Italie, S161 00:00 - No 1: Sposalizio 08:16 - No 2: Il penseroso 13:17 - No 3: Canzonetta del Salvator Rosa 15:53 - No 4: Sonetto 47 del Petrarca 21:18 - No 5: Sonetto 104 del Petrarca 27:28 - No 6: Sonetto 123 del Petrarca 34:14 - No 7: Après...
Franz Liszt ‒ Album d'un voyageur, S156: Impressions et Poésies
Переглядів 51 тис.8 років тому
Franz Liszt (1811 - 1886), Album d'un voyageur S156: I. Impressions et Poésies (1834/8) Performed by Ashley Wass 00:00 - No 1: Lyon 07:28 - No 2a: Le lac de Walenstadt 11:27 - No 2b: Au bord d'une source 15:50 - No 3: Les cloches de G 28:19 - No 4: Vallée d'Obermann 43:18 - No 5: La chapelle de Guillaume Tell 50:27 - No 6: Psaume The Album d’un Voyageur is the first important published collecti...
Anton Rubinstein ‒ 2 Melodies, Op. 3
Переглядів 124 тис.8 років тому
Anton Rubinstein (1829 - 1894), 2 Melodies, Op. 3 (1852) Performed by Balazs Szokolay and Joseph Banowetz respectively 00:00 - No. 1 Melody in F major 04:00 - No. 2 Melody in B major Rubinstein was 23 years old when he composed two Melodies Op.3. The work was undoubtedly Rubinstein's most well-known compositions, and while it may be easy to dismiss these salon pieces as mere pot-boilers, they c...
Franz Liszt ‒ Scherzo und Marsch, S177
Переглядів 127 тис.8 років тому
Franz Liszt (1811 - 1886), Scherzo und Marsch, S177 (1851/4) Performed by Jeno Jando 00:00 - No. 1: Allegro vivace, spiritoso 06:18 - No. 2: Allegro moderato, marziale (March) 09:53 - No. 3: Allegro vivace, spiritoso 11:22 - No. 4: Stretta 11:37 - No. 5: Molto più animato, quasi Presto The Scherzo und Marsch is a work apart from the others: one of Liszt’s larger structures, it exploits the comb...
Franz Liszt ‒ Apparitions, S155
Переглядів 51 тис.8 років тому
Franz Liszt (1811 - 1886), Apparitions, S155 (1834) Performed by Ashley Wass 00:00 - No 1: Senza lentezza quasi allegretto 09:02 - No 2: Vivamente 13:19 - No 3: Fantaisie sur une valse de François Schubert (D365/33) Along with the early Harmonies poétiques et religieuses and the first book of the Album d’un voyageur, Apparitions stake Liszt’s earliest claim to be regarded as a mature and origin...
Franz Liszt ‒ Die Zelle in Nonnenwerth
Переглядів 232 тис.8 років тому
Franz Liszt (1811 - 1886), Die Zelle in Nonnenwerth, for solo piano, S. 534/2bis (Version 3, 1858 - 1860) Performed by Clemens Muller Die Zelle in Nonnenwerth was something of an obsession with Liszt. At the last count, beginning around 1841 and continuing until the last years of his life, he seems to have made three versions of the song to Lichnowsky’s poem about the cloisters on the island in...
Vladimir Rebikov ‒ Une Fête, Op. 38
Переглядів 15 тис.8 років тому
Vladimir Rebikov (1866 - 1920), Une Fête (A festival), Op. 38 (1907) Performed by Anthony Goldstone 00:00 - No. 1 Vivo 00:30 - No. 2 Vivo 01:20 - No. 3 Allegro 01:45 - No. 4 Vivo 02:13 - No. 5 Presto 02:36 - No. 6 Vivo 03:04 - No. 7 Andante Une Fete (A Festival), Op. 38, written in Dresden in June 1907, contains seven pieces; most are less than half a minute long, only the second approaching a ...
Franz Liszt ‒ La lugubre gondola, I & II, S200
Переглядів 89 тис.8 років тому
Franz Liszt (1811 - 1886), La lugubre gondola S200 (1882/1885) Performed by Arnaldo Cohen 00:00 - No. 1 La lugubre gondola I S200/1 05:00 - No. 2 La lugubre gondola II S200/2 There are four pieces associated with the death of Wagner, the contemporary composer whom Liszt admired above all others, despite the sometimes serious difficulties in their personal relationship. Liszt stayed with Wagner ...
Franz Liszt ‒ Deux Mélodies Russes S250
Переглядів 145 тис.8 років тому
Franz Liszt (1811 - 1886), Deux Mélodies russes 'Arabesques', S250 (1842) Performed by Alexandre Dossin 00:00 - No 1: Solovei 'Le rossignol' (second version) 04:40 - No 2: Chanson bohémienne The two transcriptions which Liszt eventually issued together under the title Arabesques were conceived separately, and Solovei appeared in an earlier, rather boisterous version with a title page which atte...
Franz Liszt ‒ Sancta Dorothea, S187
Переглядів 85 тис.8 років тому
Franz Liszt (1811 - 1886), Sancta Dorothea, S187 (1877) Performed by Alexander Djordjevic Composed in 1877, Franz Liszt's Sancta Dorothea expresses his religious feelings of humility and near asceticism. Flowing and lyrical, this work begins simply with a rippling triplet figure in the left hand which supports an elegant and songlike melody that pays gentle homage to the saint who inspired this...
Florent Schmitt ‒ La tragédie de Salomé, Op. 50
Переглядів 27 тис.8 років тому
Florent Schmitt (1870 - 1958), La tragédie de Salomé - Symphonic Poem, Op 50 (1909) Performed by Orchestre Philharmonique de Radio France, Marek Janowski cond. 00:00 - Prelude 08:29 - Danse des perles 12:39 - Part 2 14:07 - Les enchantments de la mer 21:57 - Danse des éclairs 25:06 - Danse de l'effroi A fellow-member-with Ravel, Delage, Fargue, and others-of the exclusive artistic brotherhood w...
Florent Schmitt ‒ Soirs, Op.5
Переглядів 25 тис.8 років тому
Florent Schmitt (1870 - 1958), Soirs, suite pour orchestre, Op.5 Performed by Monte-Carlo Philharmonic Orchestra, David Robertson Cond. 00:00 - No. 1 En rêvant (Dreaming) 02:22 - No. 2 Spleen (Melancholy) 07:39 - No. 3 Gaity (Gaiety) 09:15 - No. 4 Après l’été (After the Summer) 13:17 - No. 5 Parfum exotique (Exotic Fragrance) 16:39 - No. 6 Sur l’onde (On the Wave) 19:45 - No. 7 Un soir (An Even...
Florent Schmitt ‒ Rêves, Op.65
Переглядів 15 тис.8 років тому
Florent Schmitt (1870 - 1958), Rêves, pour orchestre, Op.65 (1915). Performed by Monte-Carlo Philharmonic Orchestra, David Robertson Cond. “Florent Schmitt was the last of that great family to which Ravel, Dukas and Roussel belong. He remains one of those who, by a happy assimilation of German or Central European influences, brought the French school back to certain notions of greatness”. Henri...
Francis Poulenc ‒ Mélancolie, FP 105
Переглядів 722 тис.8 років тому
Francis Poulenc ‒ Mélancolie, FP 105
Moritz Moszkowski ‒ Piano Concerto in E major, Op 59
Переглядів 1,7 млн8 років тому
Moritz Moszkowski ‒ Piano Concerto in E major, Op 59
Sergei Rachmaninoff ‒ Piano Concerto No.1, Op.1
Переглядів 603 тис.8 років тому
Sergei Rachmaninoff ‒ Piano Concerto No.1, Op.1
Anatoly Alexandrov ‒ Piano Sonata No. 2, Op. 12
Переглядів 8 тис.8 років тому
Anatoly Alexandrov ‒ Piano Sonata No. 2, Op. 12
Anatoly Alexandrov ‒ Piano Sonata No. 1, Op. 4, "Sonata Skazka"
Переглядів 11 тис.8 років тому
Anatoly Alexandrov ‒ Piano Sonata No. 1, Op. 4, "Sonata Skazka"
Claude Debussy ‒ Images pour orchestre
Переглядів 83 тис.8 років тому
Claude Debussy ‒ Images pour orchestre
Frédéric Chopin ‒ Prelude in C-sharp minor, Op.45
Переглядів 182 тис.8 років тому
Frédéric Chopin ‒ Prelude in C-sharp minor, Op.45
Pierre-Octave Ferroud ‒ Prélude et Forlane
Переглядів 5 тис.8 років тому
Pierre-Octave Ferroud ‒ Prélude et Forlane
Florent Schmitt ‒ Crépuscules, Op. 56
Переглядів 20 тис.8 років тому
Florent Schmitt ‒ Crépuscules, Op. 56
20:15
2:15
15:25 22:58
5:50 - The X-Ray arrows that trespasses flesh with ease
What's score edition?
Fazer piada em comentários, desviando a finalidade destes, demonstra falta de interesse pelo assunto e profundo desrespeito às pessoas. Grotesco, piotr !
Grieg transcende ! Sua obra, rica em beleza e cor o eleva a um dos 10 maiores compositores de todos os tempos !
Romantic,beautiful without words for this great composer
Number 5 reminds me of Borodin’s polovitsian dances from prince Igor
Теперь понимаю, что зря так долго откладывал знакомство с этим композитором. Это невероятно
I have a serious addiction to Medtner! These skazki are so original and beautifull!
20:16
10:30
Maravilloso concierto . desgarra el alma
What a great piece, but what a boring performance. It's technically good, but wow, it lacks any energy, emotion, imagination, and direction.
18:48 20:14 8:10
20:09
That fanfare in the 2nd mvmt is one of the most glorious things ever put to paper.
The concerto would have been way more popular if he was way more consistent with the theme, the early variatons of the main theme was so good. Still a great concerto regardless.
2:11 - 2:29 best part
omg this is so much underrated, any other of his works that you recommend me to listen?
One of my most favourites sonatas ever! Stanshinsky was just incredible!
The second mvmt sounds like something out of a Truffaut film
Started playing this recording out of curiosity at well after 3am. Wound up listening to the whole thing anyway because I could not bear to stop it! What fun!
Nothing interesting apart from a few parts.
I thought the same thing five years ago until I listened to it again just now while high on good old Cannabis. And I’m loving it.
21:20 feeling love...
Not one of his best pieces, but I respect the effort.
19:45
11:00
first time I heard n.4 was like a deja vu, somewhat like I already knew what's going on and be able to anticipate the next motif. Don't know why, kind of a consonance with my soul.
What an excellent performance. I like how the very tone/chord rich passages are still very articulated and clear.
11:30~12:00
I've been a classical musician for years, and I am only now discovering Taneyev, thanks to his treatise on counterpoint. My education is lacking, but I'm trying to rectify that. Although his style is very different, may I also recommend Myaskovky, especially the 12th Symphony, 1st piano sonata, and violin concerto.
1st mvmt - not since Beethoven have we heard such compelling counterpoint fused with angst, wrapped in a new harmonic vision.
As a suggestion to the previous, listen to the composer on UA-cam! He, above everybody, should know what he had in his mind!!!
Most of the comments are about the genius of Grieg, but almsot nothing about the performer's conception of the work, probably because they have no idea of taste in music; they probably have no way of judging one performance from another, only that they recognise the work and like it or not. So, here goes: the minuet has a proviso: ma poco piu lento, a LITTLE more slowly than a minuet, a graceful DANCE. This sounded as if the dancers had hob-nail boots, or wooden clogs, slowing them down to almost a crawl! The first movement had so many different speeds that the listener did not know what to expect next, making the performance as a series of practise-from points! The slow movement was the most successful, but the louder sections sounded too loud rather than having a richer tone. The last movement was obviously where the pianist wanted to show how fast he could play with as much volume he could master: a series of gabbled notes, even though very accurate, not as we would imagine Grieg would have played the piano! Listen to the recording of Grieg playing the last movement of this sonata - - - - much more musical and in time!
Best part is when it ends. Not the ending, just when it stops.
This is just incompetant.
Szymanowski made great noise for piano.
?
Just bad.
Empty interpretation.
Masterful.
Lisitsa does not know what she is doing.
The world owes him for his advancement of music.
why is no one talking about 17:08 These few bars give me the goosebumps every. single. time.
Tedious! Boring. No more! Stop playing!
Consolation ♥️
20:11
This gives me chills…
Intresting to see where this concerts falls in time in relation to others: 2014 Piano Concerto Simon Steen-Andersen Denmark 2011 Universos Infinitos Esteban Benzecry Argentina 2009 Er Huang Qigang Chen China 2008 In Seven Days Thomas Ades England 2002 Piano Concerto: Resurrection Krzysztof Penderecki Poland 1998 Piano Concerto No. 3 "Gift of Dreams" Einojuhani Rautavaara Finland 1997 Piano Concerto 'Memo Flora' Op.67 Takashi Yoshimatsu Japan 1988 Piano Concerto Witold Lutosławski Poland 1988 Concerto for Piano and Orchestra György Ligeti Hungria 1985 Ausklang Helmut Lachemann Germany 1984 Riverrun Toru Takemitsu Japan 1961 Piano Concerto Alberto Ginastera Argentina 1957 Piano Concerto No. 2 in F major, Op. 102 Dmitri Shostakovich Russia 1945 Piano Concerto No. 3 in E major, Sz. 119, BB 127 Bela Bartok Hungria 1940 Piano Concerto Carlos Chavez Mexico 1934 Rhapsody on a Theme of Paganini Sergei Rachmaninoff Russia 1931 Piano Concerto in G major Maurice Ravel France 1930 Piano Concerto for the Left Hand Maurice Ravel France 1930 Piano Concerto No. 2 in G major, Sz. 95, BB 101 Bela Bartok Hungria 1926 Piano Concerto No. 1, Sz. 83, BB 91 Bela Bartok Hungria 1926 Piano Concerto No. 4 in G minor, Op. 40 Sergei Rachmaninoff Russia 1925 Concerto in F George Gershwin United States 1924 Rhapsody in Blue George Gershwin United States 1921 Piano Concerto No. 3 in C major, Op. 26 Sergei Prokofiev Russia 1913 Piano Concerto No. 2 in G minor, Op. 16 Sergei Prokofiev Russia 1909 Concerto for Piano No. 3 Sergei Rachmaninoff Russia 1900 Concerto for Piano No. 2 Sergei Rachmaninoff Russia 1898 Piano Concerto in E major, Op 59 Moritz Moszkowski Poland 1881 Piano Concerto No. 2 in B♭ major, Op. 83 Johannes Brahms Germany 1874 Piano Concerto No. 1 in B♭ minor, Op. 23 Pyotr Illych Tchaikovsky Russia 1868 Piano Concerto in A Minor (II. Adagio) Edvard Grieg Norway 1866 Le Carnaval des animaux Camille Saint-Saëns France 1861 Piano Concerto No. 2 Franz Liszt Austria,Hungria 1858 Piano Concerto No. 1 in D minor, Op. 15 Johannes Brahms Germany 1856 Piano Concerto No. 1 Franz Liszt Austria,Hungria 1845 Piano Concerto in A minor, Op. 54 Robert Schumann Germany 1830 Piano Concerto No. 1 in E minor, Op. 11 Frédéric Chopin Poland 1829 Piano Concerto No. 2 in F minor, Op. 21 Frédéric Chopin Poland 1809 Piano Concerto No. 5 in E-flat major, Op. 73 Ludwig Van Beethoven Germany 1806 Piano Concerto No. 4 in G major, Op. 58 Ludwig Van Beethoven Germany 1800 Piano Concerto No. 3 in C minor, Op. 37 Ludwig Van Beethoven Germany 1795 Piano Concerto No. 1 Ludwig Van Beethoven Germany 1785 Piano Concerto No. 21 in C major, K. 467 Mozart Austria 1785 Piano Concerto No. 20 in D minor, K. 466 Mozart Austria 1780 Piano Concerto in D Hob XVIII:11 Joseph Haydn Austria 1734 Harpsichord Concerto in D minor, BWV 1052 Johann Sebastian Bach Germany