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The Instruments of the Orchestra (Siepmann) (Jeremy Siepmann) (Naxos: 8.558040-46)



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Facts
Item number 8558040-46
Barcode 636943804025
Release date 01/10/2002
Category Classical Music | Audio Books
Label Naxos Educational
Media type CD
Number of units 7
Performers
Artists Jeremy Siepmann
Composers Jeremy Siepmann
Disc: 1
Instruments of the Orchestra
1 Wagner: Tannhauser: Overture
2 Anonymous: Domna, pos vos ay chausida
3 We don't merely use instruments, we play on them.
4 Brahms: Hungarian Dance No. 7
5 The violin is one of the most tender and beautiful
6 Brahms: Violin Concerto in D major: II. Adagio
7 But for a long time it was seen as the instrument
8 Stravinsky: The Soldier's Tale: Triumphal March of
9 The manipulative seductiveness of the gypsy violin
10 Anonymous: Csardas Music
11 The violin and the imitation of nature
12 Vivaldi: The Four Seasons: Spring: I. Allegro
13 Birds are again evoked in the second concerto, esp
14 Vivaldi: The Four Seasons: Summer: I. Allegro non
15 Like the devil, the violin is a master of disguise
16 Kreisler: Schon Rosmarin
17 The menacing sensuality of Ravel's Tzigane; a very
18 Ravel: Tzigane
19 Do we now have the true measure of this instrument
20 Paganini: Caprice No. 24
21 Bach: Brandenburg Concerto No. 4: III. Presto / Sc
22 Britten: Variations on a Theme of Frank Bridge: VI
23 Prokofiev's tremolo in Romeo and Juliet should not
24 Prokofiev: Romeo and Juliet: Act IV
25 Vivaldi uses it to illustrate the shivering of tra
26 Vivaldi: The Four Seasons: Winter: I. Allegro non
27 The violin muted
28 Debussy: Clair de lune
29 The gentleness of muted strings persists even when
30 Mozart: Piano Concerto No. 21 in C major, K. 467:
31 The pizzicato violin
32 Strauss: Pizzicato Polka
33 In Prokofiev's Second Violin Concerto, the accompa
34 Prokofiev: Violin Concerto No. 2 in G minor: II. A
35 Kabalevsky: Colas Breugnon / Warlock: Capriol Suit
36 Holst: The Planets: I. Mars: The Bringer of War
37 Bach: Sonata No. 3 in C major for unaccompanied vi
38 Brahms: Hungarian Dance No. 4
39 Double-stopping is a standard feature of a lot of
40 Vivaldi: The Four Seasons: Autumn: I. Allegro
41 Now the same technique, but the sound might have c
42 Ravel: Bolero
43 Double-stopping can only approximate the sound of
44 Joachim: Cadenza to the Violin Concerto by Brahms
45 Now compare that with a real violin duet.
46 Bartok: 44 Duos: I. Teasing Song
47 Another duo by Bartok, demonstrating the violin's
48 Bartok: 44 Duos: II. Maypole Dance
49 And now what may be the most beautiful accompanied
50 Bach: Concerto in D minor for two violins: II. Lar
51 The soul of the violin is in song; but what about
52 Prokofiev: Violin Concerto No. 1 in D major: II. S
53 The use of harmonics in the orchestra can be both
54 Mahler: Symphony No. 1, "Titan": I. Langsam, schle
55 Tchaikovsky's use of harmonics in The Sleeping Bea
56 Tchaikovsky: The Sleeping Beauty: Act II, No. 15:
57 Ravel's harmonics in Mother Goose effect a magical
58 Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty an
59 Stravinsky: The Firebird: Introduction
60 The natural upper notes of the violins have a uniq
61 Strauss: Also sprach Zarathustra: Of the Afterworl
62 Still in their upper register, the violins unleash
63 Britten: Variations on a Theme of Frank Bridge: V.
64 Elsewhere, Britten uses the same high register to
65 Britten: Peter Grimes: 4 Sea Interludes, Op. 33a:
66 To end this outing with the violins, a charming li
67 Hellmesberger: Elfenreigen
Disc: 2
Instruments of the Orchestra
1 Introduction to the viola
2 Telemann: Viola Concerto: I. Largo
3 Khachaturian gets a very different sound from it:
4 Khachaturian: Gayane Suite No. 1: III. Armen's Sol
5 Very nearly the whole of the violin's upper regist
6 Britten: Peter Grimes: Passacaglia, Op. 33b
7 Strauss: Don Quixote
8 Berlioz: Harold in Italy: IV. Orgy of Brigands
9 The muted viola: intimate, gentle, poignant in Dvo
10 Dvorak: Cypresses: IX. Thou Only Dear One
11 The massed violas of the modern symphony orchestra
12 Mahler: Symphony No. 4: III. Ruhevoll, poco adagio
13 The "period" viola in Bach
14 Bach: Brandenburg Concerto No. 6: III. Allegro
15 The cello: a voice of unique nobility
16 Bach: Suite No. 1 for unaccompanied cello: I. Prel
17 Brahms and the "soul" of the cello
18 Brahms: Piano Concerto No. 2 in B flat major: III.
19 Most orchestral composers tend to emphasise the ce
20 Bach: Herz und Mund und Tat und Leben, BWV 147: Ar
21 In the time of Beethoven the cello remained as fun
22 Beethoven: Symphony No. 3 "Eroica": IV. Finale
23 But the cello is not condemned to spend its life i
24 Popper: Elfentanz, Op. 39
25 Not only in recital showpieces like that is the ce
26 Tavener: The Protecting Veil: opening
27 A cello with an identity-crisis: the pizzicato Fla
28 Tagell: Flamenco
29 Double-stopping in the lower reaches of the cello'
30 Cassado: Solo Suite for Cello and Piano: Sardana
31 It's in its middle register that the cello really
32 Rachmaninoff: Oriental Dance, Op. 2, No. 2
33 Beethoven: Symphony No. 5: II. Andante con moto
34 Beethoven: Symphony No. 9: IV. Finale
35 Introduction to the double-bass
36 Saint-Saens: The Carnival of the Animals: The Elep
37 But the double-bass can be intensely expressive an
38 Bottesini: Elegy No. 1 in D major
39 Bottesini: Allegro di concerto, "Alla Mendelssohn"
40 Bottesini: Capriccio di bravura
41 Mahler: Symphony No. 1, "Titan": III. Feierlich un
42 Prokofiev: Lieutenant Kije Suite: III. Kije's Wedd
43 Beethoven: Symphony No. 5: III. Allegro
Disc: 3
Instruments of the Orchestra
1 The antiquity and magic of the flute
2 Debussy: Prelude a l'apres-midi d'un faune
3 The versatility and agility of the flute
4 Bach: Orchestral Suite No. 2 in B minor: VII. Badi
5 The flute in fifteenth-century Spain
6 Anonymous: Sa'dawi
7 Other flutes: the bass and alto
8 Sallinen: Chamber Music II
9 The Piccolo - aptly named
10 Rameau: La Naissance d'Osiris: VI. Premier et deux
11 From a piccolo of the eighteenth century to one of
12 Stravinsky: Suite No. 2 for Small Orchestra: II. V
13 A variety of techniques
14 Sallinen: Chamber Music II
15 Flutter-tonguing. But Tchaikovsky got there eighty
16 Tchaikovsky: The Nutcracker: Act II, No. 2: Scene
17 From the transverse to the vertical: the Baroque r
18 Telemann: Recorder Suite in A minor: Menuet II
19 An unfamiliar, early vision of the instrument
20 Baston: Naelden, Naelden
21 The Bachian oboe
22 Bach: Ein feste Burg ist unser Gott, BWV 80: Duett
23 Introduction to the cor anglais or 'English horn'
24 Dvorak: Symphony No. 9, "From the New World": II.
25 The loneliness of the cor anglais
26 Sibelius: The Swan of Tuonela
27 The cor anglais joins the French horn in Haydn.
28 Haydn: Symphony No. 22, "The Philosopher": I. Adag
29 Introduction to the oboe d'amore, beloved of Bach
30 Ravel: Bolero
31 Herrmann: The Egyptian: Violence / Janacek: Taras
32 Stravinsky: Petrushka: Peasant with Bear / Berlioz
33 As the high clarinets tend to be loud, so the bass
34 Khachaturian: Gayane Suite No. 1: V. Gayane's Solo
35 Stravinsky: Petrushka: The Blackamoor / Albeniz: I
36 The range of the normal clarinet parts goes quite
37 Tchaikovsky: The Snow Maiden: Scene 5: Melodrama
38 ....and quite low.
39 Prokofiev: Peter and the Wolf: The Cat
40 The clarinet as concerto soloist
41 Mozart: Clarinet Concerto in A major: III. Rondo
42 But that's not the instrument Mozart wrote it for;
43 Mozart: Clarinet Concerto in A major: III. Rondo
44 Introduction to the saxophone
45 Kodaly: Hary Janos Suite: IV. The Battle and Defea
46 The soprano saxophone has quite a different feel t
47 Bizet: L'Arlesienne Suite No. 1: II. Minuet
48 The little sopranino sax goes even higher
49 Ravel: Bolero
50 The most famous use of the saxophone is in an orch
51 Mussorgsky: Pictures at an exhibition: The Old Cas
52 The saxophone can be quite contagiously good-humou
53 Wiedoeft: Sax-o-phun
54 The puffa-puffa image of the bassoon
55 Prokofiev: Peter and the Wolf: Grandfather
56 The Bachian bassoon, in accompanimental mode
57 Bach: Weicher nur, betrubte Schatten, BWV 202, "We
58 Bizet: Carmen Suite No. 1: V. Les Dragons d'Alcala
59 And Ravel, also in Spanish mode, does likewise
60 Ravel: Bolero
61 The bassoon as a voice of high seriousness, indeed
62 Bax: Symphony No. 3: I. Lento moderato
63 The eerie bassoon in its highest register
64 Stravinsky: The Rite of Spring: opening
65 Stravinsky now draws on its lowest register, lonel
66 Stravinsky: The Firebird Suite (1919): Berceuse
67 The bassoon as concerto soloist, avoiding all exag
68 Molter: Bassoon Concerto in G minor: III. —
69 The deep-voiced contra-bassoon, as a fairy-tale be
70 Ravel: Ma Mere l'oye (Mother Goose): IV. Beauty an
71 The French Horn under its woodwind hat
72 Nielsen: Wind Quintet, Op. 43: III. Praeludium - T
73 Now a more prominent role, in a woodwind quintet f
74 Reicha: Wind Quintet in A minor, Op. 100, No. 5: I
75 The horn in harmonious blend with strings in anoth
76 Mozart: Horn Quintet in E flat major, K. 407: III.
Disc: 4
Instruments of the Orchestra
1 The Trumpet as virtuoso soloist
2 Bach: Brandenburg Concerto No. 2: III. Allegro ass
3 The special brilliance of paired trumpets
4 Vivaldi: Concerto in C for two trumpets, RV 537: I
5 The ceremonial trumpet
6 Copland: Fanfare for the Common Man
7 Trumpets and drums - an incomparable alliance
8 Handel: Messiah: The Trumpet Shall Sound
9 The versatility of the trumpet, from the most publ
10 Gershwin: Piano Concerto in F: II. Andante con mot
11 Gershwin: An American in Paris / Stravinsky: The S
12 Bizet: Carmen Suite No. 2: II. Habanera
13 The trumpet as the voice of strength and courage
14 Bizet: Carmen Suite No. 2: IV. Toreador's Song
15 Stravinsky: Petrushka: The Blackamoor / Prokofiev:
16 Copland: Billy the Kid
17 The trumpet as character actor
18 Mussorgsky: Pictures at an Exhibition: Samuel Gold
19 The trumpet as the voice of God
20 Bach: Mass in B minor: Et expecto
21 The birth of the trombone
22 Anonymous: Aenmerckt nu hier
23 The birth of the brass as a family
24 Gabrieli: Canzon a 12 in Double Echo
25 The trombone in the eighteenth century
26 Albrechtsberger: Trombone Concerto in B flat major
27 Hoser: Romance for trombone and organ / Berlioz: R
28 Liszt: Hosannah, S677/R409
29 The trombones become part of the orchestra
30 Beethoven: Symphony No. 5: IV. Allegro
31 Wagner: Tannhauser: Overture
32 The Trombone as caricaturist
33 Stravinsky: Pulcinella: No. 19: Vivo
34 Bartok: Concerto for Orchestra: IV. Intermezzo int
35 The horn and the hunt
36 Mozart: Horn Concerto No. 4 in E flat, K. 495: III
37 The challenging horn of the Baroque
38 Rameau: Abaris ou les Boreades: II. Menuet
39 The scarcity of first-rate players in Handel's tim
40 Handel: Water Music: Suite No. 1 in F major, HWV 3
41 Stravinsky: The Firebird Suite (1919): Finale
42 Horns and the sound of nobility
43 Wagner: Tannhauser: Overture (opening)
44 The special sound of the horn in its higher regist
45 Bach: Mass in B minor: Quoniam tu solus sanctus
46 The trumpet-like sound of massed horns
47 Mahler: Symphony No. 3: I. Kraftig (opening)
48 The tuba - unfairly maligned?
49 Prokofiev: Symphony No. 6: III. Vivace
50 The tuba perfectly cast by Ravel
51 Mussorgsky: Pictures at an Exhibition: Bydlo
Disc: 5
Instruments of the Orchestra
1 Introduction. And we begin with a bang.
2 Copland: Fanfare for the Common Man / Beethoven: W
3 At the opposite extreme is the triangle.
4 Liszt: Piano Concerto No. 1 in E flat major: Scher
5 Categories of percussion: tuned and untuned. The s
6 Rossini: La gazza ladra (The Thieving Magpie): Ove
7 Nielsen: Clarinet Concerto (opening)
8 The tambourine. One of the oldest instruments in t
9 Anonymous: Den hoboecken dans
10 Even older is the originally oriental gong.
11 Ravel: Ma Mere l'oye (Mother Goose): Laideronette
12 Britten: Peter Grimes: Passacaglia, Op. 33b
13 Satie: Gymnopedie No. 2
14 Elgar: The Sanguine fan / Cymbals clashed softly /
15 Ravel: Piano Concerto in G major (opening) / Tchai
16 Wood blocks
17 Copland: Rodeo: IV. Hoe-Down
18 Glinka: Jota aragonesa
19 Monteverdi: Scherzi musicali: Damigella tutta bell
20 A still earlier example from fifteenth-century Spa
21 Traditional: Yo m'enamori d'un aire
22 The birth of the bongo
23 Bernstein: West Side Story (Symphonic Dances)
24 Verdi: II Trovatore: Act II: Anvil Chorus
25 Grofe: Grand Canyon Suite: III. On the Trail / Var
26 Moncayo: Huapango
27 Onwards to the tuned percussion. First, the timpan
28 Strauss: Also sprach Zarathustra: Introduction
29 Mahler: Symphony No. 2, "Resurrection'": III. In r
30 Grofe: Grand Canyon Suite: I. Sunrise / Berlioz: S
31 Taking advantage of tunability
32 Bartok: Music for Strings, Percussion and Celesta:
33 Shchedrin: Carmen Suite: IV. Changing of the Guard
34 Shchedrin: Carmen Suite: V. Carmen's Entrance and
35 Saint-Saens and the xylophone
36 Saint-Saens: The Carnival of the Animals: Fossils
37 Ravel and the xylophone
38 Ravel: Ma Mere l'oye (Mother Goose): Laideronette
39 Shchedrin: Carmen Suite: III. First Intermezzo
40 Introducing the vibraphone
41 Steiner: The Treasure of the Sierra Madre: Narange
42 Shchedrin: Carmen Suite: V. Carmen's Entrance and
43 Introducing the Hungarian cimbalom
44 Traditional: Folk Dances
45 The cimbalom and the symphony orchestra
46 Kodaly: Hary Janos Suite : III. Song
47 Introducing the tubular bells
48 Kodaly: Hary Janos Suite: II. Viennese Musical Clo
49 A more "up-front" approach from Rodion Shchedrin
50 Shchedrin: Carmen Suite: I. Introduction
51 Vaughan Williams: Symphony No. 7, "Sinfonia antart
52 Introducing the celesta
53 Tchaikovsky: The Nutcracker: Dance of the Sugar Pl
54 Magic, in the use of collective percussion
55 Ravels: Miroirs: V. La vallee des cloches
56 Shchedrin: Carmen Suite: VI. Scene
57 Tchaikovsky: The Nutcracker: Act II: Scene / Liszt
58 The traditionally subservient role of the harpsich
59 Bach: Brandenburg Concerto No. 2: II. Andante
60 Saint-Saens: Symphony No. 3, "Organ": III. Allegro
61 Stravinsky: Petrushka: Russian Dance
62 The anti-Romantic piano as an integral part of the
63 Bartok: Music for Strings, Percussion and Celesta:
Disc: 6
Instruments of the Orchestra
1 Keyboard instruments in the orchestra - the most p
2 Saint-Saens: Symphony No. 3, "Organ": IV. Presto
3 But things in Handel's day were very different.
4 Handel: Organ Concerto in B flat major, Op. 4, No.
5 The organ is difficult to classify.
6 An unexpected, organ-related guest
7 Boismortier: Concerto pour Zampogna: III. Allegro
8 Peasant-fancying… and a touch of the roaming cowbo
9 Schoenberg: Les Miserables: Drink with Me
10 Mozart: German Dance, K. 603, No. 3
11 Mahler: Symphony No. 4: I. Bedachtig, nicht eilen
12 Mahler: Symphony No. 6, "Tragic": I. Heftig, aber
13 Anderson: The Typewriter / Satie: Parade
14 Varese: Integrales / Gershwin: An American in Pari
15 Vaughan Williams: Symphony No. 7, "Sinfonia antart
16 Strauss: Don Quixote: Variation VIII
17 Rodrigo: Concierto de Aranjuez: III. Allegro genti
18 Seeger / Hays: Washington Breakdown
19 Steiner: The Treasure of the Sierra Madre: Packing
20 Prokofiev: Romeo and Juliet: Act II: No. 14
21 Steiner: The Treasure of the Sierra Madre: EI Desa
22 The bongos and the congas and a whole wealth of ot
23 Evening Raga: Bhapoli
24 Ferre: Paris cancaille
25 Karas: The Third Man: Theme
26 Traditional: Folk Dances
27 Albeniz: Rondena
28 Traditional: Svetit Mesiats
29 Vaughan Williams: Symphony No. 7, "Sinfonia antart
30 Debussy: Nocturnes: III. Sirenes
31 Instruments and the imitation of nature. The clari
32 Saint-Saens: The Carnival of the Animals: The Cuck
33 The flute as an all-purpose aviary
34 Saint-Saens: The Carnival of the Animals: The Avia
35 The oboe as duck
36 Prokofiev: Peter and the Wolf: The Duck
37 The recording of reality. Does it work as well?
38 Respighi: The Pines of Rome: III. The Pines of the
39 The recording of reality electronically reborn in
40 Rautavaara: Cantus Arcticus, "Concerto for Birds a
41 Beethoven turns avian: cuckoo, nightingale, and qu
42 Beethoven: Symphony No. 6, "Pastoral": II. Szene a
43 Some importable casting: the violin as braying don
44 Saint-Saens: The Carnival of the Animals: Persons
45 A truly orchestral hee-haw to be reckoned with
46 Mendelssohn: A Midsummer Night's Dream: Overture
47 A thunderstorm in a million
48 Beethoven: Symphony No. 6, "Pastoral": IV. Gewitte
49 The instrumental depiction of a silent world
50 Saint-Saens: The Carnival of the Animals: The Aqua
51 Saint-Saens' menagerie takes a curtain call
52 Saint-Saens: The Carnival of the Animals: Finale
Disc: 7
Instruments of the Orchestra
1 The grouping of instrumental families. An additiv
2 Bartok: 44 Duos: IV. Midsummer Night Song
3 A greater contrast, of both pitch and character, v
4 Mozart: Duo for Violin and Viola in B flat major,
5 Arrival at the standard string trio: violin, viola
6 Schubert: String Trio in B flat major: III. Menuet
7 The string quartet: two violins, viola and cello
8 Beethoven: String Quartet in F major, Op. 18, No.
9 The string quintet - when the extra instrument is
10 Mozart: String Quintet No. 5 in D major, K. 593: I
11 The string quintet - when the extra instrument is
12 Schubert: String Quintet in C major: III. Scherzo
13 The string sextet: two violins, two violas, and tw
14 Brahms: String Sextet No. 1 in B flat major: II. A
15 The string octet: the standard string quartet time
16 Mendelssohn: Octet in E flat major, Op. 20: moveme
17 Double the string octet: a fully fledged string or
18 Mendelssohn: String Symphony No. 2: III. Allegro v
19 The massed strings of a symphony orchestra
20 Vaughan Williams: Fantasia on a Theme of Thomas Ta
21 Contrasts of pitch and instrumental 'colour' in th
22 Reicha: Wind Quintet in A minor, Op. 100, No. 5: T
23 In the First Variation it's the horn that gets the
24 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
25 In Variation Two the torch is handed to the basso
26 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
27 In Variation Three the oboe leads
28 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
29 Variation Four: conversation before returning to a
30 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
31 And Variation Five is dominated by the clarinet
32 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
33 The next to be featured is the virtuoso flute.
34 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
35 Individual farewells and a closing chorus
36 Reicha: Wind Quintet in A Minor, Op. 100, No. 5: V
37 A mixed group: clarinet, bassoon, horn, string qua
38 Schubert: Octet in F major, D. 803: III. Trio
39 The early classical symphony orchestra of Haydn an
40 Mozart: Symphony No. 29 in A major, K. 201: IV. Al
41 Strings, wind, but no brass. What Haydn and Mozart
42 Gabrieli: Canzon 28
43 Beethoven's Fifth: two horns, two trumpets, and th
44 Beethoven: Symphony No. 5: IV. Allegro
45 From Beethoven to the massive orchestras of Berlio
46 Beethoven changed the face of the symphony and the
47 Mahler: Symphony No. 6, "Tragic": I. Heftig, aber
48 The cult of orchestral elephantiasis reaches its p
49 Brian: Symphony No. 1, "Gothic": VI. Te ergo quaes
50 When large doesn't necessarily mean loud: Debussy
51 Debussy: Images: I. Gigues
52 A crisis of confidence; the orchestra's survival h
53 Messiaen: Turangalila Symphony: II. Chant d'amour
54 The advent of the "early music" movement brings a
55 Lully: Ballet de Xerxes: Gavotte en rondeau
56 Computer and synthesiser: friends or foes?
57 Bach: Concerto in D minor for two violins: II. Lar
58 Bach: Mass in B minor: Dona nobis pacem
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