Sonatina for piano in C major, Op. 58/1: 1. Moderato e cantabile
Sonatina for piano in C major, Op. 58/1: 2. Presto ma non troppo
Sonatina for piano in C major, Op. 58/1: 3. Leggiero e vivace
Sonatina for piano in A minor, Op. 58/2: 1. Allegro con fuoco
Sonatina for piano in A minor, Op. 58/2: 2. Arioso: Adagio
Sonatina for piano in A minor, Op. 58/2: 3. Scherzando: Andantino capriccioso, un poco sostenuto
Sonatina for piano in A minor, Op. 58/2: 4. Vivace
Drei Skizzen (Three Sketches), for piano, Op. 7: 1. Allegretto vivace
Drei Skizzen (Three Sketches), for piano, Op. 7: 2. Lento e dolce
Drei Skizzen (Three Sketches), for piano, Op. 7: 3. Vivace
Suite for piano, Op. 24: 1. Präludium: Leggiero e dolce, ma non presto
Suite for piano, Op. 24: 2. Menuett: Quasi andantino, sostenuto e rubato
Suite for piano, Op. 24: 3. Capriccio: Vivacissimo
Suite for piano, Op. 24: 4. Sarabande funebre: Largo e grave
Suite for piano, Op. 24: 5. Gigue: Allegretto, con umore e vivacitŕ
Sonata for piano, Op. 28: 1. Tranquillo e semplice
Sonata for piano, Op. 28: 2. Quasi menuetto
Sonata for piano, Op. 28: 3. Andante un poco sostentuo
Sonata for piano, Op. 28: 4. Allegro con spirito
Track Listings (30) - Disc #2
Three small pieces, for piano, Op. 64: 1. Humoresque: Allegro ma non troppo
Three small pieces, for piano, Op. 64: 2. Melody: Lento, semplice ed espressivo
Three small pieces, for piano, Op. 64: 3. Scherzino: Vivace e leggiero
Preludes (3), for piano, Op. 65: 1. Vivacissimo
Preludes (3), for piano, Op. 65: 2. Lento e tranquillo
Preludes (3), for piano, Op. 65: 3. Presto, grazioso e con anima
Preludes (24), for piano, Op. 83: 1. Allegro
Preludes (24), for piano, Op. 83: 2. Con spirito ma non presto
Preludes (24), for piano, Op. 83: 3. Vivace
Preludes (24), for piano, Op. 83: 4. Quasi andantino, alla danza
Preludes (24), for piano, Op. 83: 5. Allegretto
Preludes (24), for piano, Op. 83: 6. Moderato
Preludes (24), for piano, Op. 83: 7. Andante
Preludes (24), for piano, Op. 83: 8. Allegro pesante
Preludes (24), for piano, Op. 83: 9. Vivace
Preludes (24), for piano, Op. 83: 10. Grave
Preludes (24), for piano, Op. 83: 11. Andante grazioso e scherzando
Preludes (24), for piano, Op. 83: 12. Con moto
Preludes (24), for piano, Op. 83: 13. Adagio
Preludes (24), for piano, Op. 83: 14. Presto
Preludes (24), for piano, Op. 83: 15. Tranquillo con moto
Preludes (24), for piano, Op. 83: 16. Allegro con fuoco
Preludes (24), for piano, Op. 83: 17. Quasi andantino
Preludes (24), for piano, Op. 83: 18. Allegro maestoso
Preludes (24), for piano, Op. 83: 19. Andante
Preludes (24), for piano, Op. 83: 20. Allegro agitato
Preludes (24), for piano, Op. 83: 21. Allegro piacevole
Preludes (24), for piano, Op. 83: 22. Allegro energico
Preludes (24), for piano, Op. 83: 23. Allegretto
Preludes (24), for piano, Op. 83: 24. Allegretto
"Martin Jones is a skilled and sensitive artist with an imaginative response that is faultless." -- GramophoneComposer, scholar, writer, teacher, and performer, Hans Gál was a complete musician in the very be... more »st sense of the word. Born in 1890 in the village of Brunn an Gebirge just outside Vienna to parents of Hungarian-Jewish origin, his musical talent blossomed under the encouragement of his Aunt Jenny, who was an established opera singer in Weimar, and he began piano lessons at the age of eight. Although finding the routine of practice irksome, Gál became sufficiently proficient on the instrument to have been admitted at the age of fifteen to the class of Richard Robert (1861-1924), one of the most outstanding piano pedagogues in Vienna and the teacher of Clara Haskil, Rudolf Serkin, and George Szell. The piano music provides perhaps one of the finest testaments to his achievement. Gál composed frequently for the instrument throughout his long career, and appears from the very outset to have been able to create music that is both idiomatic and inventive.« less
"Martin Jones is a skilled and sensitive artist with an imaginative response that is faultless." -- GramophoneComposer, scholar, writer, teacher, and performer, Hans Gál was a complete musician in the very best sense of the word. Born in 1890 in the village of Brunn an Gebirge just outside Vienna to parents of Hungarian-Jewish origin, his musical talent blossomed under the encouragement of his Aunt Jenny, who was an established opera singer in Weimar, and he began piano lessons at the age of eight. Although finding the routine of practice irksome, Gál became sufficiently proficient on the instrument to have been admitted at the age of fifteen to the class of Richard Robert (1861-1924), one of the most outstanding piano pedagogues in Vienna and the teacher of Clara Haskil, Rudolf Serkin, and George Szell. The piano music provides perhaps one of the finest testaments to his achievement. Gál composed frequently for the instrument throughout his long career, and appears from the very outset to have been able to create music that is both idiomatic and inventive.