The Home circle; a collection of piano-forte music consisting of the most favorite marches, waltzes, polkas, redowas, schottisches, galops, mazurkas, quadrilles, dances, &c., being a repository of music for parlor and drawing-room recreations.

Mode of access: Internet.

The home treasure, a collection of pianoforte music, for four hands, consisting of rondos, variations, nocturnes, romances, fantaisies, waltzes, polkas, schottisches, mazurkas, marches, quicksteps, galops, and selections from the operas.

Mode of access: Internet.

2 mazurkas de salon : pour violon avec accompagnement de piano : op. 12 /

Sielanka la champètre -- Chanson polonaise.

The Home companion. [music] : a collection of vocal and instrumental music for the piano-forte, consisting of songs, ballads, duets, trios and quartettes, rondos, variations, nocturnes, romances, waltzes, polkas, schottisches, mazurkas, polka mazurkas, galops, marches, and selections from operas, designed for the parlor or concert room.

Mode of access: Internet.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.

THE COMPLETE PRELUDES OF ALEXANDER SCRIABIN: THE EVOLUTION OF HIS REVOLUTIONARY COMPOSITIONAL STYLE

During the second half of the nineteenth century, a series of remarkable advances in musical composition emerged in the works of such innovative spirits as Franz Liszt, Hector Berlioz and Richard Wagner. Their pioneering works exerted an extraordinary impact on the music of the subsequent generation of composers--of disparate nationalities-who were active at the dawn of the 20th century: Including most notably Claude-Achille Debussy, Gustav Mahler, Richard Strauss, and Alexander Nikolayevich Scriabin. These important musical figures, each one leaving an indelible and formative imprint on late-nineteenth century Romantic style, together launched the modern era in music. Scriabin stands alone as a transcendental visionary: His music, initiated in the fashion of Chopin and Liszt, wanders through the realms of Debussy and Wagner, and, ultimately abandoning late Romantic tradition, unlocks the heretofore unforeseen power of atonality, bitonality, polyrhythms and key-signature free compositions. Arguably, Scriabin's compositions count among the most innovative, idiosyncratic and bewitching of all time. The development of Scriabin's groundbreaking compositional style is best understood by means of his piano works, which comprise the majority of his oeuvre. Beyond the larger works-his twelve sonatas, a concerto and a fantasy-Scriabin's piano explorations are also represented by miniature gems: The mazurkas, impromptus, waltzes, poems, a polonaise, etudes, nocturnes, morceaux and, in particular, the preludes. Scriabin's 90 preludes for piano, arranged in several opus numbers, richly exemplify the striking evolution of his ingenious music, his idiosyncratic philosophy and his provocative personality.

Mazurka de concert : [music] : pour violon avec accompagnement de piano /

Cover title.

Werke. Erste kritisch durchgesehene Gesammtausgabe.

Supplement comprises Revionsbericht: v. 1. Bd. I, Bd. IX; v. 2. Bd. II, Bd. XIV; Bd. IV, Bd. V.

Complete works for the piano

book 1. Waltzes.--book 2. Mazurkas.--book 3. Polonaises.--book 4. Nocturnes.--book 5. Ballades.--book 6. Impromptus.--book 7. Scherzi and Fantasy.--book 8. Etudes.--book 9. Preludes.--book 10. Rondos.--book 11. Sonatas.--book 12. Miscel. compositions.--book 13. Four concert pieces (solo).--book 14. Concerto in E minor (solo).--book 15. Concerto in F minor (solo).

Mazurka de concert : pour le piano, oeuv. 3. /

Mode of access: Internet.

Polka et mazurka : für das Pianoforte /

Brilliant-Polka -- Mazurka.

Oeuvres pour le piano /

v. 1. Valses.-- v. 2. Mazurkas.-- v. 3. Polonaises.-- v. 4. Nocturnes.-- v. 5. Ballades.-- v. 6. Impromptus et fantaisies.-- v. 7. Rondos et scherzos.-- v. 8. Etudes.-- v. 9. Sonates.-- v. 10. Berçeuse, etc.-- v. 11. Concertos, etc.