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9 Salon Pieces (9 Салонных пьес) for violin, or viola, or cello, and piano, Op. 11; originally only 3 pieces written for each instrument, later all 9 works transcribed by the composer for each of the 3 instruments
Manuel de Falla, composer of Ritual Fire Dance. Ritual Fire Dance (Spanish: Danza ritual del fuego) is a movement of the ballet El amor brujo [1] (The Bewitched Love), written by the Spanish composer Manuel de Falla in 1915. It was made popular by the composer's own piano arrangement. [2] The dance has a duration of about three to four and a ...
David Ludwig – Violin Concerto No. 2: Paganiniana, (2018) for violin and Pierrot Ensemble; Witold Lutosławski – Variations on a Theme by Paganini, for two pianos (1940–41) or for piano and orchestra (1978) Yngwie Malmsteen – used the main theme for an interlude on electric guitar on the song Prophet of Doom, from his album War to End ...
Rubinstein played this series throughout Russia and Eastern Europe and in the United States when he toured there. Although best remembered as a pianist and educator (most notably as the composition teacher of Tchaikovsky ), Rubinstein was also a prolific composer; he wrote 20 operas , the best known of which is The Demon .
Chinese Folk Dance Suite for Violin and Orchestra (2000) Romance and Dance for 2 Violins and String Orchestra (1995/1998) Henry Cowell. Air, HC 767/1a (1952) Fiddler's Jig, HC 771, Flirtatious Jig (1952) César Cui. Suite concertante, Op. 25 (1884) Luigi Dallapiccola. Tartiniana (1951) Tartiniana seconda (1955–56) Frederick Delius
Fire Dance [2] Animation Suite, Tin Sentinel [2] Animation Suite, Clockwork Doll [2] Trio for violin, oboe and piano, Artemis (2nd mov.) [2] Prelude No. 9 [2] [3] Mazurka No. 1 [2] Madeleine Dring; Lilliburlero Variations for Two Pianos [4] Prince Edmond de Polignac; Échos de l'Orient judaïque (1879) [5] "Chant à la lune", incidental music ...
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Rubinstein's first recording was made in 1910; he recorded Liszt’s Hungarian Rhapsody No. 10 for the Polish "Favorit" label. [2] The pianist was displeased with the acoustic recording process, which he said made the piano sound “like a banjo” and did not record again until after the advent of electrical recording in 1925.
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