{"product_id":"andor-foldes-complete-deutsche-grammophon-recordings","title":"ANDOR FOLDES: THE COMPLETE DEUTSCHE GRAMMOPHON RECORDINGS (19 CDS)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/ABOUT_THIS_RECORDING_W._WORLD_2_1730b12e-581d-4407-87fb-2175c2fd5123_480x480.png?v=1603210905\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/ABOUT_THIS_RECORDING_W._WORLD_2_1730b12e-581d-4407-87fb-2175c2fd5123_480x480.png?v=1603210905\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/DESCRIPTION_WITH_WORLD_1_d9254874-1b5f-48ee-852d-4074a16878e6_480x480.png?v=1595264382\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eThe most comprehensive tribute ever issued to Hungarian pianist Andor Foldes (1913-1992) renowned for his polished and self-effacing style, containing many recordings new to CD, freshly remastered and enhanced by an extensive booklet appreciation by Stephen Siek and rarely reproduced photographs from the DG archive.\u003c\/p\u003e\n\u003cp\u003eWriting in 1961 - not yet 50 years of age - the Hungarian pianist Andor Foldes cast his mind back to student days in Budapest, and to pre-war rehearsals led by Bruno Walter. 'We all were convinced that this was the way Mozart wanted his work to be played: without frills, without any undue virtuosity on the part of the soloist... Playing like one big happy family, in the service of a higher power - Mozart's spirit.' Throughout his career Foldes cultivated and emulated those qualities he discerned in Walter's artistry. Such modesty and assurance are the hallmarks of his recordings, beginning here with the Bartók and Prokofiev he recorded in Paris in 1949-50 and which was released on French Polydor. Memorably direct accounts of Grieg and Schumann were released on Mercury, before Foldes settled down with Deutsche Grammophon, the most lasting and symbiotically satisfying artist-label relationship of his career. DG's 1950s mono sound, analytical but not airless, was ideally suited to the Foldes sound, and he opened his account with the unlikely trio of Albéniz, Stravinsky and Virgil Thomson. Brahms, Liszt and Schumann classics soon followed: unhackneyed, freshly voiced interpretations of Romantic repertoire made in 1951-3, much of it receiving their first release on CD. Then came a wide-ranging survey over four LPs of the solo piano music by his teacher Bartók. These recordings were recognised for their authority and authenticity, and Foldes became especially prized in his adopted home of the USA as a specialist in contemporary music. He wrote well and often about new piano music by the flourishing generation of postwar American composers, and his recordings brought spice to the fairly heavy standard fare of the DG catalogue. Insightfully straightforward sets of Mozart and Beethoven concertos straddle the mono and stereo eras, before Foldes turned in the 1960s to the foundational treasury of Beethoven's sonatas - though an album of shorter works, plus a 'keyboard evening' of shorter pieces from Bach to Poulenc showed that he continued to bestow astonishingly clean articulation and devotion to the score to all his repertoire.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/REVIEWS_CS_WORLD_7ad42b8b-2188-414f-9c17-0e66da4d836d_480x480.png?v=1595264361\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Foldes plays it brilliantly, his strong fingers unerringly tracing the percussive outlines of the writing.” Gramophone, December 1949 (Bartók: Piano Concerto No.2)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Mr. Foldes’s rapt performance … is exquisite.” Gramophone, September 1955 (Schumann: Fantasie)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“His infallibly precise technique, his sense of control and his grasp of structure serve him well, and it stands much to his credit that for at least some of the time he gives the impression that the Copland Sonata contains some worthwhile musical thought.” Gramophone, December 1956 (Barber, Copland, Stravinsky)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Foldes, perfectly at home in this music, plays superbly.” High Fidelity, August 1957 (Kodály)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Andor Foldes reveals himself here as a Beethoven player of stature. His singing tone and sensitive style are always balanced by an original and thoughtful approach.” Stereo Review, April 1958 (Beethoven, Variations, Rondos \u0026amp; Bagatelles)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Mr. Foldes is one of the few pianists who can present them convincingly.” Notes, December 1958 (Brahms, Paganini Variations)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Records made by Andor Foldes never fail to interest and the works he performs here … are played with an unblemished accuracy nothing short of astonishing. The recording is excellent.” Tempo, winter 1958 (Stravinsky, Copland)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“The Pastoral is treated as an 18th-century landscape of classic dignity. This performer is an artist, and this record is as good a collection as any to define the principles on which his artistry is based.” High Fidelity, November 1962 (Beethoven, Sonatas Opp. 28, 31 No.2, 81)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e‘The performances here are restrained, delicately coloured… Foldes is no piano-wrecking virtuoso, although his technical ability seems very high. The effect he produces is rather one of intimacy and direct communication.’ High Fidelity, November 1962 (Beethoven, Sonatas Opp. 78, 101, 109)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“Mr. Foldes’s solid tone becomes almost meltingly lovely in some of the cadenzas, and this rarity makes it doubly effective.” High Fidelity, April 1957 (Liszt concertos)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“This Hungarian pianist seems able to slip unobtrusively into any given style and offer an idiomatic rendition.” High Fidelity, June 1962 (Klavierabend)\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e“A number of these performances remain more or less unmatched … Sample either Out of Doors or the Sonata and you’ll soon realise why these recordings have always won such extravagant plaudits.” Gramophone, July 2014 (Bartók: Solo Works)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/files\/TRACK_LISTING_WITH_WORLD_1_81beb09d-4c29-4149-bf73-0d3740fd1d73_480x480.png?v=1595264371\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eSERGEI PROKOFIEV (1891–1953)\u003cbr\u003e\u003cbr\u003e1–3 Piano Concerto No. 1 in D flat major, Op. 10 \u003cbr\u003e\u003cbr\u003eOrchestre Lamoureux\u003cbr\u003eJean Martinon\u003cbr\u003e\u003cbr\u003e4–7 Tales of the Old Grandmother, Op. 31 \u003cbr\u003e\u003cbr\u003e8–11 Four Pieces, Op. 32 \u003cbr\u003e\u003cbr\u003eBÉLA BARTÓK (1881–1945)\u003cbr\u003e\u003cbr\u003e12–14 Piano Sonata, Sz.80 (BB 88) \u003cbr\u003e\u003cbr\u003e15–17 Piano Concerto No. 2, Sz.95 (BB 101) \u003cbr\u003e\u003cbr\u003eOrchestre Lamoureux\u003cbr\u003eEugène Bigot\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eFIRST RELEASE ON CD\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 2\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eROBERT SCHUMANN (1810–1856)\u003cbr\u003e\u003cbr\u003e1–11 Impromptus on a Theme by Clara Wieck, Op. 5 \u003cbr\u003e\u003cbr\u003e12–17 Abegg Variations, Op. 1\u003cbr\u003e\u003cbr\u003e18–30 Papillons, Op. 2\u003cbr\u003e\u003cbr\u003e31 Toccata in C major, Op. 7\u003cbr\u003e\u003cbr\u003eEDVARD GRIEG (1843–1907)\u003cbr\u003e\u003cbr\u003e32–47 Norwegian Peasant Dances (‘Slåtter’), Op. 72 \u003cbr\u003e\u003cbr\u003eFIRST RELEASE ON CD\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 3\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBÉLA BARTÓK (1881–1945)\u003cbr\u003e\u003cbr\u003e1–17 For Children, Sz.42 (BB 53): Books I \u0026amp; II (excerpts)\u003cbr\u003e\u003cbr\u003e18–20 Sonatina, Sz.55 (BB 69) \u003cbr\u003e\u003cbr\u003e21–26 Mikrokosmos, Sz.107 (BB 105): Book IV (excerpts) \u003cbr\u003e\u003cbr\u003e27–33 Mikrokosmos, Sz.107 (BB 105): Book V (excerpts) \u003cbr\u003e\u003cbr\u003e34–44 Mikrokosmos, Sz.107 (BB 105): Book VI (excerpts) \u003cbr\u003e\u003cbr\u003e45–50 For Children, Sz.42 (BB 53): Book III (excerpts) \u003cbr\u003e\u003cbr\u003e51–54 For Children, Sz.42 (BB 53): Book IV (excerpts) \u003cbr\u003e\u003cbr\u003e55–56 Two Elegies, Sz.41 (BB 49) \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 4\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBÉLA BARTÓK (1881–1945)\u003cbr\u003e\u003cbr\u003e1–6 Six Romanian Folk Dances, Sz.56 (BB 68)\u003cbr\u003e\u003cbr\u003e7 Fantasy II (No. 3 of Four Piano Pieces, Sz.22, BB 27) \u003cbr\u003e\u003cbr\u003e8–14 Seven Sketches, Sz.44 (BB 54) \u003cbr\u003e\u003cbr\u003e15 Improvisations on Hungarian Peasant Songs, Sz.74 (BB 83)\u003cbr\u003e\u003cbr\u003e16 Fifteen Hungarian Peasant Songs, Sz.71 (BB 79)\u003cbr\u003e\u003cbr\u003e17–19 Sonata for Piano, Sz.80 (BB 88) \u003cbr\u003e\u003cbr\u003e20–22 Three Rondos on Hungarian Folk Tunes, Sz.84 (BB 92) \u003cbr\u003e\u003cbr\u003e23–24 Romanian Christmas Carols, Sz.57 (BB 67) \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 5\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBÉLA BARTÓK (1881–1945) \u003cbr\u003e\u003cbr\u003e1–4 Suite, Sz.62 (BB 70) \u003cbr\u003e\u003cbr\u003e5–9 Out of Doors, Sz.81 (BB 89) \u003cbr\u003e\u003cbr\u003e10–15 Nine Little Piano Pieces, Sz.82 (BB 90) \u003cbr\u003e\u003cbr\u003e16–26 Ten Easy Piano Pieces, Sz.39 (BB 51) \u003cbr\u003e\u003cbr\u003e27–29 Three Burlesques, Sz.47 (BB 55) \u003cbr\u003e\u003cbr\u003e30 Allegro barbaro, Sz.49 (BB 63) \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 6\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eZOLTÁN KODÁLY (1882–1967)\u003cbr\u003e\u003cbr\u003e1–3 Háry János: Suite (excerpts, arr. Foldes)\u003cbr\u003e\u003cbr\u003e4 Children’s Dances \u003cbr\u003e\u003cbr\u003e5 Dances of Marosszék \u003cbr\u003e\u003cbr\u003e6–10 Seven Piano Pieces, Op. 11 (excerpts) \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 7\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eSAMUEL BARBER (1910–1981)\u003cbr\u003e\u003cbr\u003e1–4 Excursions, Op. 20 \u003cbr\u003e\u003cbr\u003eAARON COPLAND (1900–1990)\u003cbr\u003e\u003cbr\u003e5–7 Piano Sonata (1939–41)\u003cbr\u003e\u003cbr\u003eIGOR STRAVINSKY (1882–1971)\u003cbr\u003e\u003cbr\u003e8–10 Piano Sonata (1924)\u003cbr\u003e\u003cbr\u003e11 Circus Polka for a Young Elephant \u003cbr\u003e\u003cbr\u003eVIRGIL THOMSON (1896–1989)\u003cbr\u003e\u003cbr\u003e12 Ragtime Bass in C sharp major \u003cbr\u003e\u003cbr\u003eISAAC ALBÉNIZ (1860–1909)\u003cbr\u003e\u003cbr\u003e13 Tango, Op. 165 No. \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 8\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eWOLFGANG AMADEUS MOZART (1756–1791)\u003cbr\u003e\u003cbr\u003e1–3 Concerto No. 10 in E flat major for Two Pianos and Orchestra, KV 365\u003cbr\u003e\u003cbr\u003eCarl Seemann, piano I\u003cbr\u003eAndor Foldes, piano II\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eFritz Lehmann\u003cbr\u003e\u003cbr\u003e4–6 Piano Concerto No. 15 in B flat major, KV 450 \u003cbr\u003e\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eLeopold Ludwig\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e7–9 Piano Concerto No. 21 in C major, KV 467\u003cbr\u003e\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003ePaul Schmitz\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 9\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eWOLFGANG AMADEUS MOZART (1756–1791)\u003cbr\u003e\u003cbr\u003e1–3 Piano Concerto No. 17 in G major, KV 453 \u003cbr\u003e\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eFritz Lehmann\u003cbr\u003e\u003cbr\u003e4–6 Piano Concerto No. 25 in C major, KV 503\u003cbr\u003e\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eLeopold Ludwig\u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e7 Fantasia in C minor for Piano, Chorus and Orchestra, Op. 80\u003cbr\u003e\u003cbr\u003eRIAS Kammerchor\u003cbr\u003eBerliner Motettenchor\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eFritz Lehmann\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 10\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e1–3 Piano Concerto No. 1 in C major, Op. 15 \u003cbr\u003e\u003cbr\u003e4–6 Piano Concerto No. 5 in E flat major, Op. 73 ‘Emperor’\u003cbr\u003e\u003cbr\u003eBamberg Symphony Orchestra (No. 1)\u003cbr\u003eBerliner Philharmoniker (No. 5)\u003cbr\u003eFerdinand Leitner\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 11\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e1–3 Piano Sonata No. 8 in C minor, Op. 13 ‘Pathétique’ \u003cbr\u003e\u003cbr\u003e4–7 Piano Sonata No. 15 in D major, Op. 28 ‘Pastorale’\u003cbr\u003e\u003cbr\u003e8–10 Piano Sonata No. 17 in D minor, Op. 31 No. 2 ‘Tempest’ \u003cbr\u003e\u003cbr\u003e11–13 Piano Sonata No. 21 in C major, Op. 53 ‘Waldstein’\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 12\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e1–3 Piano Sonata No. 23 in F minor, Op. 57 ‘Appassionata’ \u003cbr\u003e\u003cbr\u003e4–6 Piano Sonata No. 26 in E flat major, Op. 81a ‘Les adieux’ \u003cbr\u003e\u003cbr\u003e7–10 Piano Sonata No. 28 in A major, Op. 101 \u003cbr\u003e\u003cbr\u003e11–13 Piano Sonata No. 30 in E major, Op. 109 \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 13\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e1–4 Piano Sonata No. 4 in E flat major, Op. 7 \u003cbr\u003e\u003cbr\u003e5–7 Piano Sonata No. 9 in E major, Op. 14 No. 1 \u003cbr\u003e\u003cbr\u003e8–9 Piano Sonata No. 19 in G minor, Op. 49 No. 1 \u003cbr\u003e\u003cbr\u003e10–12 Piano Sonata No. 31 in A flat major, Op. 110 \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 14\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e1–2 Piano Sonata No. 24 in F sharp major, Op. 78 ‘À Thérèse’ \u003cbr\u003e\u003cbr\u003e3–5 Piano Sonata No. 25 in G major, Op. 79 \u003cbr\u003e\u003cbr\u003e6 Bagatelle in A minor, WoO 59 ‘Für Elise’ \u003cbr\u003e\u003cbr\u003e7–12 Six Bagatelles, Op. 126 \u003cbr\u003e\u003cbr\u003e13 Ecossaise in E flat major, WoO 86 \u003cbr\u003e\u003cbr\u003e14 Andante favori in F major, WoO 57 \u003cbr\u003e\u003cbr\u003e15 32 Variations in C minor on an original theme, WoO 80\u003cbr\u003e\u003cbr\u003e16–17 Two Rondos, Op. 51\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 15\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eJOHANNES BRAHMS (1833–1897)\u003cbr\u003e\u003cbr\u003e1–12 Variations on an Original Theme in D major, Op. 21 No. 1\u003cbr\u003e\u003cbr\u003e13–29 Variations on a theme by Schumann in F sharp minor, Op. 9\u003cbr\u003e\u003cbr\u003eVariations on a theme by Paganini, Op. 35\u003cbr\u003e\u003cbr\u003e30–44 Book I\u003cbr\u003e\u003cbr\u003e45–59 Book II\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eFIRST RELEASE ON CD\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 16\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eROBERT SCHUMANN (1810–1856)\u003cbr\u003e\u003cbr\u003e1–21 Carnaval, Op. 9 \u003cbr\u003e\u003cbr\u003e22–24 Fantasie in C major, Op. 17\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003eFIRST RELEASE ON CD\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 17\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eFRANZ LISZT (1811–1886)\u003cbr\u003e\u003cbr\u003e1–3 Piano Sonata in B minor, S.178 \u003cbr\u003e\u003cbr\u003eAnnées de pèlerinage – Deuxième année: Italie, S.161\u003cbr\u003e\u003cbr\u003e4 No. 6: Sonetto 123 del Petrarca\u003cbr\u003e\u003cbr\u003eAnnées de pèlerinage: Première année: Suisse, S. 160\u003cbr\u003e\u003cbr\u003e5 No. 2: Au lac de Wallenstadt\u003cbr\u003e\u003cbr\u003eSoirées de Vienne, S.427\u003cbr\u003e\u003cbr\u003e6 No. 4: Andantino a capriccio\u003cbr\u003e\u003cbr\u003e7 No. 7: Allegro spiritoso\u003cbr\u003e\u003cbr\u003e8 Valse oubliée No. 1, S.215 \u003cbr\u003e\u003cbr\u003eFIRST RELEASE ON CD\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 18\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eFRANZ LISZT (1811–1886)\u003cbr\u003e\u003cbr\u003e1–3 Piano Concerto No. 1 in E flat major, S.124\u003cbr\u003e\u003cbr\u003e4–9 Piano Concerto No. 2 in A major, S.125\u003cbr\u003e\u003cbr\u003eSERGEI RACHMANINOV (1873–1943)\u003cbr\u003e\u003cbr\u003e10–12 Piano Concerto No. 2 in C minor, Op. 18 \u003cbr\u003e\u003cbr\u003eBerliner Philharmoniker\u003cbr\u003eLeopold Ludwig\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCD 19\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003eKlavierabend\u003cbr\u003e\u003cbr\u003eJOHANN SEBASTIAN BACH (1685–1750)\u003cbr\u003e\u003cbr\u003e1–2 Chromatic Fantasia and Fugue in D minor, BWV 903 \u003cbr\u003e\u003cbr\u003eLUDWIG VAN BEETHOVEN (1770–1827)\u003cbr\u003e\u003cbr\u003e3–5 Piano Sonata No. 6 in F major, Op. 10 No. 2 \u003cbr\u003e\u003cbr\u003eJOHANNES BRAHMS (1833–1897)\u003cbr\u003e\u003cbr\u003eSixteen Waltzes, Op. 39 (excerpts)\u003cbr\u003e\u003cbr\u003e6 No. 1 in B major (Tempo giusto)\u003cbr\u003e\u003cbr\u003e7 No. 2 in E major\u003cbr\u003e\u003cbr\u003e8 No. 3 in G sharp minor\u003cbr\u003e\u003cbr\u003e9 No. 15 in A flat major\u003cbr\u003e\u003cbr\u003eMANUEL DE FALLA (1876–1946)\u003cbr\u003e\u003cbr\u003e10 Ritual Fire Dance (from El amor brujo, arr. Falla)\u003cbr\u003e\u003cbr\u003eFRANCIS POULENC (1899–1963)\u003cbr\u003e\u003cbr\u003e11 Nocturne No. 4 in C minor\u003cbr\u003e\u003cbr\u003eCLAUDE DEBUSSY (1862–1918)\u003cbr\u003e\u003cbr\u003e12 Prélude, Book I No. 8: La fille aux cheveux de lin \u003cbr\u003e\u003cbr\u003eFRÉDÉRIC CHOPIN (1810–1849)\u003cbr\u003e\u003cbr\u003e13 Mazurka in E minor, Op. 41 No. 1 \u003cbr\u003e\u003cbr\u003e14 Nocturne in C minor, Op. 48 No. 1 \u003cbr\u003e\u003cbr\u003eFRANZ LISZT (1811–1886)\u003cbr\u003e\u003cbr\u003e15 Mephisto Waltz No. 1, S.514 \u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Deutsche Grammophon","offers":[{"title":"Default Title","offer_id":32278763241559,"sku":"028948412563","price":118.15,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0067\/4660\/3571\/products\/61iuJR8dx2L._SL1204.jpg?v=1604083167","url":"https:\/\/classicselectworld.com\/de-de\/products\/andor-foldes-complete-deutsche-grammophon-recordings","provider":"ClassicSelect World","version":"1.0","type":"link"}