This is a sortable discography of French Canadian pianist and composer Marc-André Hamelin. He records exclusively for the Hyperion label, although he has recorded for other labels in the past. In addition to the works of commonly heard composers, he has recorded a great deal of non-standard repertoire, such as music of Charles-Valentin Alkan, Leopold Godowsky, Georgy Catoire, Sophie Carmen Eckhardt-Gramatté, as well as his own compositions.

A berceuse [bɛʁsøz] is "a musical composition usually in 68 time that resembles a lullaby". Otherwise it is typically in triple metre. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism would be somewhat inappropriate. Another characteristic of the berceuse, for no reason other than convention, is a tendency to stay on the "flat side"; noted examples including the berceuses by Chopin, who pioneered the form, Liszt, and Balakirev, which are all in D♭.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many musical contemporaries, including Robert Schumann. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Aurore Dupin (known by her pen name George Sand). A brief and unhappy visit to Mallorca with Sand in 1838–39 proved one of his most productive periods of composition. In his final years he was supported financially by his admirer Jane Stirling. In poor health most of his life, Chopin died in Paris in 1849 at age 39. All of Chopin's compositions feature the piano. Most are for solo piano, though he also wrote two piano concertos before leaving Warsaw, some chamber music, and 19 songs set to Polish lyrics. His piano pieces are technically demanding and expanded the limits of the instrument; his own performances were noted for their nuance and sensitivity. Chopin's major piano works include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzi, preludes, and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of Mozart and Schubert, and the atmosphere of the Paris salons, of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period. Chopin's music, his status as one of music's earliest celebrities, his indirect association with political insurrection, his high-profile love life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity. Among his many memorials is the Fryderyk Chopin Institute, which was created by the Polish parliament to research and promote his life and works, and which hosts the prestigious International Chopin Piano Competition, devoted entirely to his works.

Islamey: Oriental Fantasy (Russian: Исламей: Восточная фантазия, romanized: Islamey: Vostochnaya fantaziya), is a composition for piano by Russian composer Mily Balakirev written in 1869. Harold C. Schonberg noted that Islamey was "at one time…considered the most difficult of all piano pieces and is still one of the knucklebusters." Its difficulty has led to the creation of numerous ossias (alternative passages) and made it popular as a virtuosic showpiece.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

This is a list of compositions by Viktor Kosenko, who composed about 250 works in various genres. His piano music may be considered post-romantic, containing eclectic elements of musical nationalism. Although a particular folk song has never been directly cited in his work, his melodic and harmonic lines are definitely associated with Ukrainian folk songs, and also with the Dorian, Lydian, and Phrygian mode used extensively in his compositions. Kosenko left a dozen works that are included in the hall of Ukrainian piano music. Among these are his Eleven Études in the Form of Old Dances, Op. 19, and Twenty-four Pieces for Children, Op. 25, which grew generations of young pianists. After his death, many of his other works, if not in manuscript, have been published only recently. Both tables (works with and without opus number) are sortable by title, key, tempo and mood markings (if applicable), year of production or publishing (when applicable), and non-sortable by opus number (some do not have one), name, image (scores), genre, notes and references. This line _____ functions as a chronological divider for three parts of Kosenko's life (his early works, the time he spent in Zhytomir, and the one spent in Kiev) when his compositions are sorted by year.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

The Mazurka (Polish: mazurek, GEN. mazurka) is a Polish musical form based on stylised folk dances in triple metre, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". The Mazurka, alongside the polka dance, became popular at the ballrooms and salons of Europe in the 19th century, particularly through the notable works by Frédéric Chopin. The mazurka (in Polish mazur, the same word as the mazur) and mazurek (rural dance based on the mazur) are often confused in Western literature as the same musical form.

A nocturne is a musical composition that is inspired by, or evocative of, the night.

A nocturne is a musical composition that is inspired by, or evocative of, the night.

A piano sonata is a sonata written for a solo piano. Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Liszt, Scriabin, Prokofiev, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata, Czerny's Piano Sonata No. 1, Godowsky's Piano Sonata) or even more movements. The first movement is generally composed in sonata form.

A piano sonata is a sonata written for a solo piano. Piano sonatas are usually written in three or four movements, although some piano sonatas have been written with a single movement (Liszt, Scriabin, Prokofiev, Berg), others with two movements (Haydn, Beethoven), some contain five (Brahms' Third Piano Sonata, Czerny's Piano Sonata No. 1, Godowsky's Piano Sonata) or even more movements. The first movement is generally composed in sonata form.

The Russian and American classical virtuoso pianist Vladimir Horowitz was a recording artist for over 60 years, beginning in 1926 on a piano roll system for Welte-Mignon, then with audio recordings, starting in 1928 for the Victor Talking Machine Company, later RCA Victor. Horowitz continued to record for a variety of record labels throughout his life. Between 1962 and 1973, he recorded for Columbia Masterworks In 1975, he returned to RCA, with which he recorded a series of live recitals. For the last years of his life, between 1985 and 1989, Horowitz recorded for Deutsche Grammophon. His final recording, with Sony Classical, was completed in November 1989, four days before his death. This final recording consisted of repertoire that he had never previously recorded. His discography contains numerous albums and compilations of works by a variety of composers. Horowitz has also appeared in several video items, most of which were produced in the later years of his life.

Manfred is a "Symphony in Four Scenes" in B minor by Pyotr Ilyich Tchaikovsky, his Opus 58, but unnumbered. It was written between May and September 1885 to a program based upon the 1817 poem of the same name by Byron, coming after the composer's Fourth Symphony and before his Fifth. Like the fantasy-overture Romeo and Juliet, Tchaikovsky wrote Manfred at the behest of the nationalist composer Mily Balakirev, who provided him the program, which has a long history. Critic Vladimir Stasov had written it and sent it to Balakirev in 1868 hoping the latter would write such a symphony. But Balakirev felt unable to carry out the project and instead at first forwarded the program to French composer Hector Berlioz, whose programmatic works impressed him. Berlioz in turn declined the project claiming old age and ill health and returned the program, after which it had remained with Balakirev until he reestablished contact with Tchaikovsky in the early 1880s. Manfred is the only programmatic symphonic work by Tchaikovsky in more than one movement and is larger than any of his numbered symphonies both in length and instrumentation. He initially considered the work one of his best, and in a typical reversal of opinion later considered destroying all but the opening movement. The symphony was greeted with mixed reviews, some finding much to laud in it, and others feeling that its programmatic aspects only weakened it. Manfred remained rarely performed for many years, due to its length and complexity. It has been recorded with increasing frequency but is still seldom heard in the concert hall.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The Tempest and Hamlet as well. Unlike Tchaikovsky's other major compositions, Romeo and Juliet does not have an opus number. It has been given the alternative catalogue designations TH 42 and ČW 39.

Mily Alexeyevich Balakirev (UK: bə-LA(H)K-i-rev, US: BAH-lah-KEER-ef; Russian: Милий Алексеевич Балакирев, pronounced [ˈmʲilʲɪj ɐlʲɪkˈsʲe(j)ɪvʲɪdʑ bɐˈlakʲɪrʲɪf] ; 2 January 1837 [O.S. 21 December 1836] – 29 May [O.S. 16 May] 1910) was a Russian composer, pianist, and conductor known today primarily for his work promoting musical nationalism and his encouragement of more famous Russian composers, notably Pyotr Ilyich Tchaikovsky. He began his career as a pivotal figure, extending the fusion of traditional folk music and experimental classical music practices begun by composer Mikhail Glinka. In the process, Balakirev developed musical patterns that could express overt nationalistic feeling. After a nervous breakdown and consequent sabbatical, he returned to classical music but did not wield the same level of influence as before. In conjunction with critic and fellow nationalist Vladimir Stasov, in the late 1850s and early 1860s, Balakirev brought together the composers now known as The Five (a.k.a., The Mighty Handful) – the others were Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. For several years, Balakirev was the only professional musician of the group; the others were amateurs limited in musical education. He imparted to them his musical beliefs, which continued to underlie their thinking long after he left the group in 1871, and encouraged their compositional efforts. While his methods could be dictatorial, the results of his influence were several works which established these composers' reputations individually and as a group. He performed a similar function for Tchaikovsky at two points in the latter's career – in 1868–69 with the fantasy-overture Romeo and Juliet, and in 1882–85 with the Manfred Symphony. As a composer, Balakirev finished major works many years after he had started them; he began his First Symphony in 1864 but completed it in 1897. The exception to this was his oriental fantasy Islamey for solo piano, which he composed quickly and remains popular among virtuosos. Often, the musical ideas normally associated with Rimsky-Korsakov or Borodin originated in Balakirev's compositions, which Balakirev played at informal gatherings of The Five. However, his slow pace in completing works for the public deprived him of credit for his inventiveness, and pieces that would have enjoyed success had they been completed in the 1860s and 1870s made a much smaller impact. Balakirev began work on a second symphony, Symphony No. 2 in D minor in 1900, but did not complete the work until 1908.

The tarantella is a traditional dance form, and accompanying music, with a distinctive rhythm, from the south of Italy. Tarantellas appear in many pieces of classical music, in literature, and in popular culture.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

Sergei Mikhailovich Lyapunov (or Liapunov; Russian: Серге́й Миха́йлович Ляпуно́в, Russian pronunciation: [sʲɪrˈɡʲej mʲɪˈxajləvʲɪtɕ lʲɪpʊˈnof]; 30 November [O.S. 18 November] 1859 – 8 November 1924) was a Russian composer, pianist and conductor.

This is a list of composers of 20th-century classical music, sortable by name, year of birth, year of death, nationality, notable works, and remarks. It includes only composers of significant fame and importance. The style of the composer's music is given where possible, bearing in mind that some defy simple classification. Names are listed first by year of birth, then in alphabetical order within each year. The 20th century is defined by the calendar rather than by any unifying characteristics of musical style or attitude, and is therefore not an era of the same order as the classical or romantic. However, the century can be divided into modern and postmodern eras that overlap and can be defined more by differences in attitude than style.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.

The following is a list of compositions by Russian composer Mily Balakirev. All are for solo piano unless otherwise indicated below.