Composers E to F
(Click on composer's name for details & soundbites)
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Anton Eberl (1765-1807) Trio for Clarinet, Cello & Piano, Op.36 |
No one had more works passed off as Mozart's than Eberl & this lovely trio sounds just like the master |
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Anton Eberl (1765-1807) String Quartet No.1 in E flat Major, Op.13 No.1 |
Some echoes of Mozart, but more like Haydn. Good choice when a fresh Vienna Classical era quartet is needed. |
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Anton Eberl (1765-1807) String Quartet No.2 in D Major, Op.13 No.2 |
Of his three string quartets, this one sounds the most like it was composed by Haydn. Good for concert or home. |
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Anton Eberl (1765-1807) String Quartet No.3 in g minor, Op.13 No.3 |
If you did not know better, you would think it was composed by Haydn. Top notch classical era quartet |
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Anton Eberl (1765-1807) Sextet for Violin, Viola, Cello, Clarinet, Horn & Piano |
Styled Grand Sextet, this fine work is almost unique in the classical literature for its unusual ensemble. Sounds very much like Mozart too. |
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Joachim Eggert (1779-1813) String Quartet No.7 in c minor, Op.3 No.1 |
Showing the influence of late Haydn and early Beethoven, a good choice for concert and amateur quartets. |
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Joachim Eggert (1779-1813) Sextet for Violin, Viola, Cello, Bass, Clarinet, & Horn |
In the Viennese Classical tradition with appealing melodies. Unusual because of promince given to clarinet & horn. |
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Andreas Ehrhardt (1823-1884) String Trio for 2 Violins & Cello in e minor, Op.19 |
Perhaps the finest work for this combination from the mid romantic era. Well-written for all three voices. |
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Julius Eichberg (1824-1893) 5 Skizzen (Sketches) for String Trio, Op.23 |
An appealing mid-romantic-era suite. Makes a good program work, not at all difficult, good for amateurs as well |
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Edward Elgar (1857-1934) Violin Sonata in e minor, Op.82 |
Critics called it a masterwork. An important sonata which belongs in the recital hall. |
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Edward Elgar (1857-1934) Piano Quintet in a minor, Op.84 |
A big 1st class late Romantic work which many critics have hailed as the equal of the Dvorak and Brahms Piano Quintets |
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Edward Elgar (1857-1934) Serenade in e minor for String Nonet, Op.20 |
Nowadays one hears it played by large string orchestras but it loses its wonderful intimacy that a nonet possesses. |
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John Lodge Ellerton (1801-1873) String Quintet (2 Vc) in f minor, Op.100 |
Very few Englishmen were composing during the period when he was active. A solid work good for home or concert |
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Rosalind Ellicott (1857-1924) Piano Trio No.1 in G Major (1889) |
One of the most prominent women composers in late 19th century England. Appealing melodies & fine part-writing. |
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Joseph Elsner (1769-1854) Piano Quartet in B flat Major, Op.15 |
This lovely piano quartet is filled with appealing melodies and shows the influence of Mozart, however, the part writing is better. |
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Joseph Elsner (1769-1854) Three String Quartets, Op.8 Nos.1-3 |
Dating from 1796, these are among the first, if not the first Polish string quartets featuring Polish folk dances. |
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Maurice Emmanuel (1862-1938) Sonata for Cello and Piano, Op.3 |
Very original, using modal scales. So far ahead of its time (1890) it was not performed for 30 years. |
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Maurice Emmanuel (1862-1938) Sonata for Violin and Piano in d minor, Op.6 |
Combines French post romanticism with elements of Cesar Franck's technique to create a very original sounding work |
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Maurice Emmanuel (1862-1938) Sonate en Trio for Flute, Clarinet & Piano, Op.11 |
An intimate and charming work, beautifully written for all three instruments. Very effective in concert. |
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Maurice Emmanuel (1862-1938) String Quartet in B flat Major, Op.8 |
Hailed by critics as a work of the first order. The finale is an extraordinarily powerful and wild gypsy movement. |
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Georges Enescu (1881-1955) Violin Sonata No.2 in f minor, Op.6 |
Enescu called it the first work in which he found his own voice. Highly original with Romanian folk melodies. |
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Georges Enescu (1881-1955) Concertstuck for Viola and Piano (1906) |
Lyrical and highly romantic combines French impressionism with Romanian folk idioms. |
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Georges Enescu (1881-1955) Piano Quartet No.1 in D Major, Op.16 |
This epic, pioneering and even revolutionary work might well be called Post-French impressionist. |
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Georges Enescu (1881-1955) Piano Quintet in a minor, Op.29 |
More than a decade in the making, this massive work, still tonal but not traditionally so, original in conception and full of contrasts |
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Georges Enescu (1881-1955) Aubade for String Trio (1899) |
Like its title, this is a beautiful love song for string trio. Fine shorter concertpiece or encore |
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Georges Enescu (1881-1955) String Octet in C Major, Op.7 |
A huge, epic masterwork combining late romanticism with emerging polytonality for an astounding tonal result. |
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Frederic d'Erlanger (1868-1943) Piano Quintet in c minor |
This is a late Romantic era masterwork. It should have entered the repertoire. You will not be disappointed. |
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Johann Carl Eschmann (1826-1882) String Quartet in d minor (circa 1847) |
From a student of Mendelssohn, Gade and Moscheles, this is a worthy mid Romantic Swiss string quartet. Good to hear & play not difficult. |
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Michele Esposito (1855-1929) Cello Sonata in D Major, Op.43 |
This fine sonata won a prize from the London Society of Musicians. Combines Italian lyricism with French lightness. |
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Michele Esposito (1855-1929) Violin Sonata No.1 in G Major, Op.32 |
A very attractive work written in a Neopolitan vocal style with lovely melodies and a fiery finale. Excellent recital choice. |
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Michele Esposito (1855-1929) Violin Sonata No.3 in A Major, Op.67 |
A genial work with appealing melodies, full of lyricism and very nicely written. |
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Victor Ewald (1860-1935) String Quartet in C Major, Op.1 |
Awarded a prize for excellence in a compeition judged by Tchaikovsky & Korsakov, charming & appealing. |
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Victor Ewald (1860-1935) String Quintet (2 Violas) in A Major, Op.4 |
An absolutely first rate work, full of charm, fetching melodies, fun and not difficult to play. Good for concert & home. |
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Joseph Eybler (1765-1846) String Trio in C Major, Op.2 |
A superb work in the tradition of Mozart's K.563 Trio. Great part-writing & appealing melodies, a first class work. |
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Joseph Eybler (1765-1846) String Quartet No.1 in D Major, Op.1 No.1 |
Eybler worked closely with both Haydn & Mozart and this work shows the influence of their middle periods. |
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Joseph Eybler (1765-1846) String Quartet No.2 in c minor, Op.1 No.2 |
This work illustrates why Mozart thought so highly of Eybler. Original, dramatic with excellent part writing. |
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Joseph Eybler (1765-1846) String Quartet No.3 in B flat Major, Op.1 No.3 |
The third of his first set of quartets which helped to make a name him. A fine work making good use of the lower voices |
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Joseph Eybler (1765-1846) String Quartet No.4 in E flat Major, Op.10 No.1 |
The first of a set of three from 1790 paying tribute to his friend Haydn. A good choice for concert or home.. |
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Joseph Eybler (1765-1846) String Quartet No.6 in C Major, Op.10 No.3 |
Eybler's last string quartets is,an echter Vienna classic, Haydnesque. A good choice where a fresh classical era piece is required. |
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Joseph Eybler (1765-1846) String Quintet (2Vln) in E flat Major, Op.5 No1 |
Straight forward with no technical difficulties whatsoever makes this a perfect choice for amateur or student groups needing a work form the classical era. |
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Joseph Eybler (1765-1846) Str Quintet for 2Vln, Vla, Vc & Kb in B flat, Op.6 No1 |
A charming, very tuneful Viennese Classical work in concertante style with fine part writing for all. |
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Philipp Fahrbach, Jr. (1843-1884) Im Kahlenberger Dörfl, Op.340 for Piano Trio |
Part of our Vienna Dance Series. One of the most famous and charming dances from Vienna's third waltz dynasty. |
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Siegfried Fall (1877-1943) Piano Trio in a minor, Op.4 |
Winner of the prestigious Mendelssohn Prize for composition, this is a very impressive work & belongs in the concert hall |
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Louise Farrenc (1804-1875) Cello Sonata in B flat Major, Op.46 |
The instrumentation is modeled on Beethoven's cello sonatas but the melodic material mid 19th century French romantic.. |
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Louise Farrenc (1804-1875) Trio for Clarinet or Violin, Cello & Piano in E flat Major, Op.44 |
Dedicated to the French clarinetist Adolphe Leroy, the trio takes full advanage of the clarinet's possibilities & is a worthwhile addition to this repertoire. |
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Louise Farrenc (1804-1875) Trio in for Flute or Violin, Cello & Piano in e minor, Op.45 |
Superb in either version. A top flight romantic work from arguably the best woman composer of the 19th century. |
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Louise Farrenc (1804-1875) Piano Quintet No.1 (Vln, Vla, Vc & Kb) in a minor, Op.30 |
On a par with the best quintets from this time (1839) For Violin, Viola, Cello & Bass. Great companion to the Trout. |
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Louise Farrenc (1804-1875) Piano Quintet No.2 (Vln, Vla, Vc & Kb) in E Major, Op.31 |
The companion work for the same instrumentation as her First, Appealing melodies, good part writing, a candidate for concert or home |
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Louise Farrenc (1804-1875) Nonet in E flat Major for Winds & Strings, Op.38 |
Hailed as a masterpiece by The Chamber Music Journal and belonging in the front rank of nonets. Excellent part-writing, convincing melodies. |
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Arthur Farwell (1872-1952) Piano Quintet in e minor, Op.103 |
Highly original, this 1937 work sounds like little else. By turns spooky, dramatic, violent, lyrical, dissonant, this is a one of a kind piece. |
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Gabriel Fauré (1845-1924) Piano Quartet No.1 in c minor, Op.15 |
In the 1st rank of Piano Quartets, very original, shows outstanding grasp of relationship betw piano & strings. |
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Gabriel Fauré (1845-1924) Piano Quartet No.2 in g minor, Op.45 |
A fine French work typical of Faure's mature later style. By turns, lyrical and turbulent, original, good part-writing. |
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Gabriel Fauré (1845-1924) String Quartet in e minor, Op.121 |
Completed shortly before his death, many consider it, musically speaking, his last will and testament. |
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Vinzenzo Ferroni (1858-1934) Piano Trio in D Major, Op.54 |
A very appealing work by a successful opera composer who knew how to write in true chamber music style. |
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Alexander Fesca (1820-1849) Piano Trio No.2 in e minor, Op.12 |
Full of captivating melodies, excellent part writing. A fine romantic era work, good for concert, playable by amateurs |
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Alexander Fesca (1820-1849) Piano Trio No.5 in b minor, Op.46 |
Schumann was so jealous of the gorgeous melodies he warned Fesca to beware of the longing glances of ladies. |
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Alexander Fesca (1820-1849) Piano Quartet No.1 in c minor, Op.26 |
Fesca's version of his first septet. Every bit a effective and captivating as the version for septet. |
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Alexander Fesca (1820-1849) Piano Quartet No.2 in a minor, Op.28 |
Fesca's version of his second septet. Again, requested by his publisher so it would reach a wider audience. As good as the septet version. |
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Alexander Fesca (1820-1849) Septet No.1 in c minor for Piano, Winds & Strings |
A superb mid-romantic era work for a rare ensemble. 1st rate all the way, great for concert or home. |
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Alexander Fesca (1820-1849) Septet No.2 in d minor for Piano, Winds & Strings |
Every bit as good as number one. Very useful, too, because it is for exactly the same instrumentation. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.1 in E flat Major, Op.1 No.1 |
His tuneful music was admired by Weber & Spohr and provides an excellent alternative to Haydn or Mozart. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.2 in f# minor, Op.1 No.2 |
With a gift for pleasing melodies and with the deft touch of a quartet player, Fesca produced works which were popular much of the 19th century. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.3 in B flat Major, Op.1 No.3 |
The third of this set dating from 1806, It, too, is filled with pleasing melodies. No other composers sound like him from this period. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.4 in b minor, Op.2 No.1 |
The first of a set dating from around 1810. One hears echoes of Haydn and also early Beethoven. New Edition |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.5 in g minor, Op.2 No.2 |
The 2nd of the set dating from 1810. Unlike No.4 one does not here echoes of Haydn or Beethoven. New Edition |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.6 in E Major, Op.2 No.3 |
The last of the set dating from 1810. A charming serenade like work with lovely melodies New Edition |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.7 in a minor, Op.3 No.1 |
Dramatic, turbulent and exciting, here is a work which belongs in the repertoire. Sure to be an audience pleaser. New Edition |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.8 in D Major, Op.3 No.2 |
The second of the set from 1812, a genial work which is good hear and fun to play. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.9 in E flat Major, Op.9 No.3 |
The last of the set from 1812, sunny, light and bright, very pleasnt music. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.10 in c minor, Op.4 |
This powerful work shows the influcence of Beethoven's Op.18 No.4 c minor quartet. A first class work. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.11 in f minor, Op.7 No.1 |
Full of nervous excitement of lovely thematic material, this attractive work would do very well in concert. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.12 in e minor, Op.7 No.2 |
Dark & brooding, with dramatic explosions and much excitement and appealing melodies. Good for concert |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.13 in d minor, Op.12 |
In 1818, Fesca stopped producing quartets in sets. This is a 1st Class work with echoes of early Beethoven. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.14 in B flat Major, Op.14 |
Composed the year after No.13, it is a very different sort of work which in many ways anticipates Schubert. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.15 in D Major, Op.34 |
This excellent work truly belongs in the concert hall, with borrowings from Haydn and showing remarkable similarities to Beethoven also. |
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Friedrich Ernst Fesca (1789-1826) String Quartet No.16 in C Major, Op.36 |
In this, his last string quartet, we here echoes of his famous teacher Louis Spohr. Full of appealing melodies |
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Friedrich Ernst Fesca (1789-1826) Potpourri No.2 for String Quartet in B flat Major, Op.11 |
An appealing one movement lighter work full of tuneful melodies designed as a vehicle for the first violin. |
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Friedrich Ernst Fesca (1789-1826) String Quintet (2 Violas) No.1 in D Major, Op.8 |
Haydn and Schubert never wrote viola quintets. Fesca's is a fine example of the late classical early Romantic era. |
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Friedrich Ernst Fesca (1789-1826) String Quintet (2 Violas) No.4 in B flat Major, Op.20 |
A genial and elegant work which can be recommended to home music makers but is also can presented in concert. |
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Zdenek Fibich (1850-1950) Piano Trio in f minor, Op. Post. |
A fine work from the contemporary of Dvorak & Smetana who began using Czech melodies before they did. |
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Zdenek Fibich (1850-1950) Piano Quartet in e minor, Op. 11 |
Powerful. Very originally constructed with linking of thematic material. Hailed as first class by the critics. |
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Zdenek Fibich (1850-1950) Piano Quintet in D Major, Op.42 |
Unique tone color in both versions--piano, winds & srings & standard piano quintet. Charming, captivating melodies |
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Zdenek Fibich (1850-1950) String Quartet No.1 in A Major, (1874) |
Sunny and genial, this very original work was the first by a Czech composer using Slavic dance forms. |
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Zdenek Fibich (1850-1950) String Quartet No.2 in G Major, Op.8 |
Here you will find an engaging and pioneering work complete with fetching Czech melodies and rhythms. |
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Zdenek Fibich (1850-1950) Theme & Variations for String Quartet |
One of the few worthwhile stand-alone Theme & Variations written for String Quartet. |
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Max Fiedler (1859-1939) String Quintet (2 Vla) in d minor, Op.1 |
Excellent mid-romantic era work. Appealing melodies and good part-writing, no technical difficulties, 1st class work |
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Arkady Filippenko (1912-1983) String Quartet No.1 in a minor |
A real find. Ukrainian master composer. The first of 3 superb works for string quartet. Powerful and fresh. |
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Arkady Filippenko (1912-1983) String Quartet No.2 in D Major |
A towering, monumental work which won the U.S.S.R. State Prize. As fine as Shostakovich's Quartet No.8! |
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Arkady Filippenko (1912-1983) String Quartet No.3 in G Major |
From the simplest Ukrainian folk-tune he builds a staggering colossus. Extraordinarily fine. |
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Arkady Filippenko (1912-1983) String Quartet No.4 in a minor |
Another masterwork the equal of any of the Shostakovich quartets. Belongs in the repertoire. Well written, exciting, original, Ukrainian folk melodies.. |
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Michael Gotthard Fischer (1773-1829) Piano Quartet in F Major, Op.6 |
One of the earliest (1803) piano quartets to have been published. Tuneful, sounding like early Beethoven. |
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Wilhelm Fitzenhagen (1848-1890) Resignation for Cello & Piano, Op.40 |
Subtitled 'A Sacred Song without Words' this evocative work was intended for church concerts. |
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Wilhelm Fitzenhagen (1848-1890) Capriccio for Cello & Piano, Op.40 |
Dedicated to Robert Hausmann cellist of the Joachim Quartet the Capriccio is a moto perpetuo with a lyrical middle section |
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Wilhelm Fitzenhagen (1848-1890) Gavotte No.2 for Cello & Piano, Op.42 |
A jaunty dance-like piece with finely contrasting middle section makes a fine recital solo or encore. |
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Wilhelm Fitzenhagen (1848-1890) Ave Maria for 4 Cellos, Op.41 |
A gorgeous setting, very well-written for all, highly emotive, a fine work for this combination. |
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Wilhelm Fitzenhagen (1848-1890) Concert Waltzes for 4 Cellos, Op.31 |
A superb work so well written you hardly know your are listening to 4 cellos rather than a standard string quartet. |
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Wilhelm Fitzenhagen (1848-1890) String Quartet in d minor, Op.23 |
The Chamber Music Journal calls it 1st rate throughout. Superbly written by an experience quartet player. |
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Josef Bohuslav Foerster (1859-1951) Piano Trio No.1 in f minor, Op.8 |
Lavishly praised by Dvorak who was at the premiere, a real first rate concert hall candidate. Belongs in repertoire. |
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Josef Bohuslav Foerster (1859-1951) Piano Trio No.2 in B flat Major, Op.38 |
Written shortly after his wife's death (1894), this superb work is in the tradition of Smetana's autobiographical works, 1st rate. |
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Josef Bohuslav Foerster (1859-1951) Piano Trio No.3 in a minor, Op.105 |
Started shortly after his son's death, (1919) the trio is written in post romantic style, dark and elegiac, entirely tonal. Deeply felt work. |
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Josef Bohuslav Foerster (1859-1951) String Quartet No.1 in E Major, Op.15 |
Lovely late Romantic work tinged with Czech melodies and influenced by his friends Dvorak & Smetana. |
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Josef Bohuslav Foerster (1859-1951) String Quartet No.2 in D Major, Op.39 |
While still showing the influence of the Czech nationalists, Foerster begins to move beyond them. A fine work. |
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Josef Bohuslav Foerster (1859-1951) String Quartet No.3 in C Major, Op.61 |
Powerful and dramatic early modern masterwork. Biographical and reminiscent in part of Smetana |
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Josef Bohuslav Foerster (1859-1951) String Quartet No.4 in F Major, Op.182 |
Dating from 1944 when he was 85 this beautiful, bright and upbeat work shows the vigor of a man 50 years younger. Good for pros & amateurs |
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Josef Bohuslav Foerster (1859-1951) String Quartet No.5 in G Major, Op.Post |
Composed in the last months of his life, an extraordinary accomplishment by any standard. Good choice for home or concert. |
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Josef Bohuslav Foerster (1859-1951) Quintet for Flute, Oboe, Clarinet, Horn & Bassoon in D Major, Op.95 |
One of the very best works of its type from the late Romantic era. Not to be missed. Great for concert. |
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Arthur Foote (1853-1937) Three Character Pieces for Violin & Piano, Op.9 |
All three make a full length recital piece but any of the three could be played alone as an encore. |
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Arthur Foote (1853-1937) Melody for Violin & Piano, Op.44 |
Lyrical and romantic, but not without dramatic excitement, a updated song without words. |
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Arthur Foote (1853-1937) Two Pieces for Violin & Piano, Op.74 |
Charming and graceful works suitable where a short work or encore is required. |
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Arthur Foote (1853-1937) Violin Sonata in g minor, Op.20 |
An unjustly forgotten masterwork from the Romantic era. Wonderful writing & melodies, sure to please in performance |
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Arthur Foote (1853-1937) String Quartet No.1 in g minor, Op.4 |
A dramatic and appealing work combining the influence of Schumann & Mendelssohn with his own original ideas. |
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Arthur Foote (1853-1937) Tema & Variazione for Str Qt (Qt.No2), Op.32 |
The only movement he published from his 2nd Qt. He did not want this magnificent & big set of variations to die. |
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Arthur Foote (1853-1937) String Quartet No.3 in D Major, Op.70 |
Called an early modern American masterwork by the Chamber Music Journal. Builds on traditional ideas. |
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Arthur Foote (1853-1937) Serenade for String Nonet in E Major, Op.25 |
The serenade of this unjustly ignored American master is the equal of his European contemporaries such as Brahms. |
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Arthur Foote (1853-1937) Piano Trio No.1 in c minor, Op.5 |
This mid-late romantic period trio unquestionably belongs in the concert repertoire. Superb from start to finish. |
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Arthur Foote (1853-1937) Piano Trio No.2 in B flat Major, Op.65 |
Another masterwork, this time in the idiom of the post-romantics. Original, tuneful & bracing. |
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Arthur Foote (1853-1937) Piano Quartet in C Major, Op.23 |
A piano quartet of the first rank. Fun to play, an audience pleaser, excellent part-writing and good melodies. |
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Arthur Foote (1853-1937) Piano Quintet in a minor, Op.38 |
An extremely fine work by an important American composer. Many say as good as the Brahms and Dvorak. |
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Emanuel Aloys Förster (1748-1823) String Quartet in d minor, Op.21 No.2 |
A friend of Haydn, Mozart & Beethoven, his quartets often appeared on the same programs as theirs. This work is an example of why that was |
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Emanuel Aloys Förster (1748-1823) String Quintet (2Vla) No.1 in c minor, Op.19 |
The first of his three string quintets written in the late Vienna Classical Style. Appealing melodies with solos for all. |
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Emanuel Aloys Förster (1748-1823) String Quintet (2Vla) No.2 in a minor, Op.20 |
An engaging Haydnesque work but with its own original sounding treatments. Good late Viennese Classical Era work |
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Emanuel Aloys Förster (1748-1823) String Quintet (2Vla) No.3 in E flat Major, Op.26 |
Interesting and original sounding though in the Viennese Classical tradition. The 1st violin and cello have many interesting conversations. |
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César Franck (1822-1890) Andantino Quietoso for Violin & Piano, Op.6 |
A once very popular recital work in the fashionable Salons of 19th century Paris. A very effective work. |
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César Franck (1822-1890) Piano Quintet in f minor (1879) |
Considered a ground breaking work heard as often as those of Brahms, Dvorak & Schumann. Deserves revival |
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César Franck (1822-1890) Piano Trio No.1 in f sharp minor, Op.1 No.1 |
Hailed by d'Indy as "Epoch making". This is a highly original work full of drama & power. Nothing else sounds like it. |
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César Franck (1822-1890) Piano Trio No.2, Op.1 No.2 "Trio de Salon" |
Lovely work so titled by the composer not because it was a drawing room piece but because of its intimate nature. |
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César Franck (1822-1890) Piano Trio No.3 in b minor, Op.1 No.3 |
Powerful, stormy and dramatic are all suitable adjectives which describe this very original piano trio. |
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César Franck (1822-1890) String Quartet in D Major (1890) |
A massive, towering work, by turns tender, explosive, highly dramatic, powerful. Called sui generus by the critics |
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Eduard Franck (1817-1893) Cello Sonata No.1 in D Major, Op.6 |
This lovely work, a valuable addition to the cello sonata repertoire, could pass for Mendelssohn's 3rd cello sonata. |
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Eduard Franck (1817-1893) Cello Sonata No.2 in F Major, Op.42 |
In the tradition of Mendelssohn. A wonderful addition to the mid-romantic cello sonata repertoire. |
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Eduard Franck (1817-1893) Violin Sonata No.1 in c minor, Op.19 |
Along with Schumann's, this is the first important violin sonata since Beethoven. A first class recital piece. |
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Eduard Franck (1817-1893) Violin Sonata No.2 in A Major, Op.23 |
A fine mid-romantic era sonata full of appealing melodies deserving a place in the recital hall. |
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Eduard Franck (1817-1893) Violin Sonata No.3 in E Major, Op.60 |
Another first rate sonata which ought to be heard in recital and which will also appeal to amateurs. |
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Eduard Franck (1817-1893) Piano Trio No.1 in e minor, Op.11 |
Lovely melodies, original ideas and good part writing create a first class mid-romantic work. |
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Eduard Franck (1817-1893) Piano Trio No.2 in E flat Major, Op.22 |
A mid-romantic work with appealing melodies showing the influence of Schumann and Mendelssohn. |
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Eduard Franck (1817-1893) Piano Trio No.4 in D Major, Op.58 |
Lovely, lilting tunes and fine part writing makes this a romantic era work to interest pros & amateurs alike. |
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Eduard Franck (1817-1893) Piano Quintet in D Major, Op.45 |
Filled with lovely melodies reminiscent of Mendelssohn and Schubert with excellent and effective part-writing. |
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Eduard Franck (1817-1893) String Quartet No.1 in f minor, Op.49 |
Turbulent and full of passion. Takes Mendelssohns Op.13 and Beethoven's Op.95 as its models. |
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Eduard Franck (1817-1893) String Quartet No.2, Op.54-World Premiere Edition |
Modeled on Beethoven's Harp Quartet, this work shows Franck's superb compositional talent. |
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Eduard Franck (1817-1893) String Quartet No.3 in c minor, Op.55 |
Explosive and dramatic. A fresh-sounding quartet from the mid-romantic period by a very good composer. |
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Eduard Franck (1817-1893) String Quintet No.1 (2 Vla) in e minor, Op.15 |
Very Mendelssohnian, finished only a few years after Franck studied with him. Beautiful melodies, good part writing |
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Eduard Franck (1817-1893) String Quintet No.2 (2 Vla) in C major, Op.51 |
A good work with appealing melodies and good part writing occasionally showing the influence of Mendelssohn |
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Eduard Franck (1817-1893) String Sextet No.1 in Eb Major, Op.41 |
This sparkling and Mendelssohnian sextet is full of gorgeous melodies with fresh and original ideas. |
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Eduard Franck (1817-1893) String Sextet No.2 in D Major, Op.50 |
Another superb sextet which belongs in the concert hall and which amateurs will treasure. |
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Richard Franck (1858-1938) Piano Trio No.1 in b minor, Op.20 |
Archetypical German mid romantic period music, by turns dramatic and lyrical, this work plays extremely well. |
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Richard Franck (1858-1938) Piano Trio No.2 in E flat Major, Op.32 |
A late romantic masterwork for piano trio. Rich and warm-blooded melodies in the tradition of Brahms. |
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Richard Franck (1858-1938) Piano Quartet No.1 in A Major, Op.33 |
Lyrical, exciting and very romantic, this beautiful work is great fun to play and presents no technical difficulties |
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Richard Franck (1858-1938) Piano Quartet No.2 in E Major, Op.41 |
Hailed by critics as a poetic masterwork, this highly romantic work is very satisfying to play. |
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Richard Franck (1858-1938) Violin Sonata No.1 in D Major, Op.14 |
Full of lovely themes and fine part-writing, this is a valuable addition to the romantic violin sonata literature |
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Richard Franck (1858-1938) Violin Sonata No.2 in c minor, Op.35 |
A first class work which unquestionably belongs in the recital hall. Pleasing melodies. A very satisfying work. |
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Girolamo Frescobaldi (1583-1644) Toccata for Cello and Piano |
This is an arrangement by the Spanish cellist Gaspar Cassado. It makes a great recital and competition piece |
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Ignaz Friedman (1882-1948) Piano Quintet in c minor (1918) |
A powerful and dramatic late Romatic era work of many moods. If not a masterpiece, certainly very close to one. |
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James Friskin (1886-1967) Phantasie in e minor for Piano Trio (1909) |
A first class work which unquestionably belongs in the recital hall. Pleasing melodies. A very satisfying work. |
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James Friskin (1886-1967) Phantasy for Piano Quintet (1910) |
A Like his other Phantasies, composed for the prestigious Cobbett Competitions. Fresh & Original. A very good piece. |
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James Friskin (1886-1967) Piano Quintet in c minor (1907) |
Called one of the most brilliant opus ones in existence by the Cyclopedic Survey of Chamber Music. A superb work. |
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James Friskin (1886-1967) Phantasie for String Quartet (1906) |
A super choice where a shorter program work is required. Great craftsmanship, part-writing, melodies. Has it all. |
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Gaspard Fritz (1716-1783) Violin Sonata in D Major, Op.3 No.1 |
A late Baroque sonata which shows the emerging new pre-classical trends in French and English music. |
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Carl Frühling (1868-1937) Trio for Clarinet ( or Vln), Cello & Piano in a, Op.40 |
A lovely late romantic work. Genial and lush bringing Brahms to mind. Essential work for this ensemble. |
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Carl Frühling (1868-1937) Piano Quartet in D Major, Op.35 |
A big broad, late Romantic era work of the first order which deserves concert performance but also good for amateurs. |
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Carl Frühling (1868-1937) Piano Quintet in f sharp minor, Op.30 |
Definitely qualifies as unjustly forgotten masterpiece. Late romantic, powerful with rich melodies, great part-writing |
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Oscar Fuchs (1866-1927) 3 Character Pieces for Fl or Vln, Vla or Vc & Pno, Op.29 |
Short, charming pieces which are easy to play and make excellent encores separately or a nice shorter work played together |
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Robert Fuchs (1847-1927) Violin Sonata No.1 in f# minor, Op.20 |
A first rate work from the mid, late Romantic era. Highly lyrical with tinges of Brahms. |
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Robert Fuchs (1847-1927) Violin Sonata No.2 in D Major, Op.33 |
Combines the melodic gifts of Schubert with the profundity of Brahms. A first rate work which belongs in the repertoire. |
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Robert Fuchs (1847-1927) Violin Sonata No.3 in d minor, Op.68 |
Full of yearning, a tonally dark colored work, by turns passionate, brooding and pensive. |
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Robert Fuchs (1847-1927) Violin Sonata No.4 in E Major, Op.77 |
A work characterized by its dense textures and unusual development of themes. Lovely and appealing melodies |
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Robert Fuchs (1847-1927) Violin Sonata No.5 in A Major, Op.95 |
A bucolic work, by turns lyrical, gentle and calm evoking the dreamy world of Robert Schumann |
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Robert Fuchs (1847-1927) Violin Sonata No.6 in g minor, Op.103 |
A late romantic masterwork which not only belongs in the standard sonata repertoire but on recital hall programs. |
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Robert Fuchs (1847-1927) Six Fantasy Pieces Viola & Piano, Op.117 |
Charming character pieces which evoke the bygone era of the late Romantic. A fine choice for a recital. |
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Robert Fuchs (1847-1927) Viola Sonata & Piano in d minor, Op.86 |
Very important late Romantic work belongs in every violist's library. A winner in the recital hall. |
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Robert Fuchs (1847-1927) Seven Fantasy Pieces Cello & Piano, Op.78 |
Charming character pieces each of a different mood. Together the length of a sonata, but each could serve as an encore. Fine choice for recital. |
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Robert Fuchs (1847-1927) Cello Sonata No.1 in d minor, Op.29 |
Passionate, with fine writing. An excellent choice for the recital hall instead of one of the inevitable Brahms sonatas. |
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Robert Fuchs (1847-1927) Cello Sonata No.2 in e flat minor, Op.83 |
By turns, lyical, impassioned, dark, brooding, autumnal, dramatic & another good substitute for the Brahms sonatas. |
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Robert Fuchs (1847-1927) Terzetto No.1 for 2 Violins & Viola in E Maj, Op.61 No.1 |
Probably the best late Romantic era work for this under served combination. Attractive melodies & fine part-writing |
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Robert Fuchs (1847-1927) Terzetto No.2 for 2 Violins & Viola in D Maj, Op.61 No.2 |
Ditto, see above. Equally as fine. Not to be missed by two violin and viola trio groups. |
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Robert Fuchs (1847-1927) String Trio in A Major, Op.94 |
Post-Brahmsian, and without doubt, one of the masterworks of the string trio literature. |
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Robert Fuchs (1847-1927) String Quartet No.1 in E Major, Op.58 |
Charming and graceful. The subtle harmonic and rhythmic interplay & fine part writing makes this an attractive work. |
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Robert Fuchs (1847-1927) String Quartet No.2 in a minor, Op.62 |
Much like his first quartet, it is charming and elegant with fine part writing and appealing melodic ideas. |
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Robert Fuchs (1847-1927) String Quartet No.3 in C Major, Op.71 |
A late romantic masterwork with great originality, excellent part-writing and appealing melodies. |
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Robert Fuchs (1847-1927) String Quartet No.4 in A Major, Op.106 |
Another masterwork in which Fuchs combines a rich tonal palette with great rhythmic originality. |
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Robert Fuchs (1847-1927) 7 Fantasy Pieces for Violin, Viola & Piano, Op.57 |
In the front rank of works of this genre, beautiful tone color and highly emotive. |
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Robert Fuchs (1847-1927) Clarinet Quintet in E flat Major, Op.102 |
A work which stands alongside the very best of this genre. Tonally in the tradition of Brahms & the late Romantic era. |
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Robert Fuchs (1847-1927) Piano Trio No.1 in C Major, Op.22 |
This work so impressed Brahms that he decided to try his hand at one again. Noble, full-blooded and heroic. |
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Robert Fuchs (1847-1927) Piano Trio No.2 in B flat Major, Op.72 |
A marvelous work which belongs in the repertoire but not at all hard to play and should interest amateurs as well. |
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Robert Fuchs (1847-1927) Trio for Violin, Viola & Piano in f# minor, Op.115 |
A masterpiece for this little served combination. Tonally dark, though not brooding. Extremely well-written. |
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Robert Fuchs (1847-1927) Piano Quartet No.1 in g minor, Op.15 |
A youthful work from the mid-late Romantic period full of fire and vigor. Lovely melodies, highly effective. |
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Robert Fuchs (1847-1927) Piano Quartet No.2 in b minor, Op.75 |
Very late romantic masterwork for piano quartet. Richly written with fine melodies and original ideas. |
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Robert Fuchs (1847-1927) Serenade No.1 for String Nonet in D Major, Op.9 |
Fuchs' First Serenade achieved such popularity that he wrote 4 more and became known as "Serenade Fuchs" |
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Robert Fuchs (1847-1927) Serenade No.2 for String Nonet in C Major, Op.14 |
As popular as the First Serenade and every bit as good with appealing melodies and fine part-writing. |
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Robert Fuchs (1847-1927) Serenade No.3 for String Nonet in e minor, Op.21 |
The third of Fuchs' serenades repleat with lovely melodies and wonderful part-writing. A very fine work. |
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Carl Futterer (1873-1927) Octet in C Major for Cln, Eng Hn, Bsn, String Qt & Kb (1921) |
An original and quirky late Romantic style work with episodes of adventurous tonality and fine part writing for each instrument |