GMG’s Favourite Piano Concertos

[Luke]

Must be more than 12 hours by now...

After Mirror Image

+3 Alkan (    )
+2 Ravel (deserves to be ahead, this is a perfect, perfect gem. so I vote for it again)
+1 Chopin (oh yes, the epitome of the Romantic concert as far as I am concerned...plus, was one of my favourite pieces when I was a boy. Call me sentimental, I confess!)
-1 Bartok  (leaves me surprisingly cold)
-2 Prokofiev 5 (has never done anything for me, this piece)



Alkan: Concerto pour piano seul, op.39/8-10 [6]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [8]
Beethoven: Piano Concerto № 4 in G major, op.58 [19]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [8]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [8]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [7]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  (0)
Mozart: Concerto № 20 in D Minor, K.466 [1]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [10]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [3]
Prokofiev: Piano Concerto № 5 in G major, op.55

• [/b]
  Rachmaninov: Concerto № 3 in D minor, Op.30 [15]
  Ravel: Concerto in G major [20
  Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
  Schoenberg: Piano Concerto [7]
  Scriabin: Piano Concerto in F sharp minor, op.20 [5]
  Stravinsky: Capriccio for Piano and Orchestra (0)
  Tcherepnin: Piano Concerto No. 2  op. 22
  • [/b]
    Villa-Lobos: Choros No. 11 for piano and orchestra (0)
    

[Guido]

The G major not as perfect as his left handed one in my book (I grow less fond of the former each time I hear it, though never tire of the latter)

[Mirror Image]

The G major not as perfect as his left handed one in my book (I grow less fond of the former each time I hear it, though never tire of the latter)

I think they're both excellent and offer the listener two completely contrasting pieces of music. I really love the solo piano parts towards the end of the Piano Concerto for the left-hand. To hear Bavouzet play this is truly mesmerizing. Have you heard his recording of the Ravel concerti?

[Lethevich]

After: Luke

+3 Prokofiev: Piano Concerto No.1 in D flat major, op.10
+2 Bartók: Piano Concerto № 2 Sz. 95
+1 Schoenberg: Piano Concerto
-1 de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España)
-2 Chopin: Piano Concerto No.1 in E minor op.11

Alkan: Concerto pour piano seul, op.39/8-10 [6]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [10]
Beethoven: Piano Concerto № 4 in G major, op.58 [19]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [8]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [6]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [1]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [10]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [15]
Ravel: Concerto in G major [20]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [8]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [0.]
Villa-Lobos: Choros No. 11 for piano and orchestra [0.]

[Luke]

[@ Guido and MI]

It's odd, isn't it. There is nothing else in music like either of these concerti. And I could never tire of the G major. I find it a perfect work. It moves me deeply, it is full of exquisite things, it is utterly, echt-Ravel - and Ravel speaks to me more than almost any other composer. And yet, though I love it with every bit of me, 100%, somehow I love the LH concerto even more. It visits darker places, which of course in itself is not necessarily A Good Thing...but when Ravel visits dark places, he tends to bring back the most fantastical, previously-unknown sonorities and soundscapes. Like La valse, there is real depth and menace to the darkness of the LH concerto. There is always depth in Ravel, even in his most limpid, simple pieces...that is why the Adagio of the G major concerto is such a stunning piece...but when he reveals his true heart, we are shocked by what an intense, full-blooded vision he shows us. That happens in so many pieces, even if just or a second - Ravel draws back the veil and we see the beating heart beneath. But in the LH concerto we see it more than anywhere else.


BTW, speaking of composers who mean a lot to me, anyone for the Janacek Capriccio? Or the Concertino? (The first of these is slightly closer to being a standard-issue concerto - coincidentally it's also, like the Ravel work, a LH concerto written for a pianist who lost his right arm in WWI, and full of weird, dark-shot-with-light undertones)

[Mirror Image]

[@ Guido and MI]

It's odd, isn't it. There is nothing else in music like either of these concerti. And I could never tire of the G major. I find it a perfect work. It moves me deeply, it is full of exquisite things, it is utterly, echt-Ravel - and Ravel speaks to me more than almost any other composer. And yet, though I love it with every bit of me, 100%, somehow I love the LH concerto even more. It visits darker places, which of course in itself is not necessarily A Good Thing...but when Ravel visits dark places, he tends to bring back the most fantastical, previously-unknown sonorities and soundscapes. Like La valse, there is real depth and menace to the darkness of the LH concerto. There is always depth in Ravel, even in his most limpid, simple pieces...that is why the Adagio of the G major concerto is such a stunning piece...but when he reveals his true heart, we are shocked by what an intense, full-blooded vision he shows us. That happens in so many pieces, even if just or a second - Ravel draws back the veil and we see the beating heart beneath. But in the LH concerto we see it more than anywhere else.

I endorse this message. Wonderful to read. Yes, it's these glimpses into Ravel's true emotion that continue to bring me back to his music time and time again. When he lets down his guard, we get to experience some of the most exquisite music ever composed.

[Cato]

After: Lethe

+3  Tcherepnin
+2 Schoenberg
+1 Rachmaninov


Alkan: Concerto pour piano seul, op.39/8-10 [6]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [10]
Beethoven: Piano Concerto № 4 in G major, op.58 [19]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [8]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [6]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [1]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [10]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [16]
Ravel: Concerto in G major [20]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [10]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [3.]
Villa-Lobos: Choros No. 11 for piano and orchestra [0.]

[Luke]

@ MI

I'm in agreement, but I'd slightly alter that last sentence - Ravel is always exquisite (I'm not speaking as a fanboy here, though I am that, I'm speaking in a literal sense - he never wrote a bar of music which was not exquisitely crafted). And there is always some kind of tension stiring beneath the surface, even in something as utterly simple as Ronsard a son ame. But sometimes that tension comes very close to the top, and sometimes, just occasionally, it rips through the music in a way that is just shattering. I can't think of another composer who can do this, who has this specific kind of balance. I find it overwhelming.

Anyway.....piano concertos, huh?

[kishnevi]

After: Cato
Villa Lobos +2
Alkan +1
Mozart 20 -1

Alkan: Concerto pour piano seul, op.39/8-10 [7]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [10]
Beethoven: Piano Concerto № 4 in G major, op.58 [19]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [8]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [6]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [0.]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [10]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [16]
Ravel: Concerto in G major [20]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [10]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [3]
Villa-Lobos: Choros No. 11 for piano and orchestra [2]

[Amfortas]

Après: Jeffrey Smith

Ravel: +1
de Falla: +2
Mozart K.491 -1

revised:
Alkan: Concerto pour piano seul, op.39/8-10 [7]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [10]
Beethoven: Piano Concerto № 4 in G major, op.58 [19]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [8]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [8]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [0.]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [9]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [16]
Ravel: Concerto in G major [21]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [10]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [3]
Villa-Lobos: Choros No. 11 for piano and orchestra [2]

[Mirror Image]

@ MI

I'm in agreement, but I'd slightly alter that last sentence - Ravel is always exquisite (I'm not speaking as a fanboy here, though I am that, I'm speaking in a literal sense - he never wrote a bar of music which was not exquisitely crafted). And there is always some kind of tension stiring beneath the surface, even in something as utterly simple as Ronsard a son ame. But sometimes that tension comes very close to the top, and sometimes, just occasionally, it rips through the music in a way that is just shattering. I can't think of another composer who can do this, who has this specific kind of balance. I find it overwhelming.

Anyway.....piano concertos, huh?

You and I love Ravel's music, but let me say there are several works he composed that I dislike: Bolero being the most obvious, Tzigane (one of the worst pieces I've ever heard from any composer) to name two. I'm sure there others that I can't think of right now. As I said, for me, it is those glimpses into his heart that continue to bring me back to his music.

[Amfortas]

You and I love Ravel's music, but let me say there are several works he composed that I dislike: Bolero being the most obvious, Tzigane (one of the worst pieces I've ever heard from any composer) to name two. I'm sure there others that I can't think of right now. As I said, for me, it is those glimpses into his heart that continue to bring me back to his music.

I'm with you guys on Ravel, mostly exquisite music. Just a few works don't do much for me: Valses Nobles, La Valse....I don't mind Bolero actually.
All the chamber music, most of the piano music, everything else is great. The 2 piano concerti are among the best ever. The Left Hand in particular is a great masterpiece, imho, of the 20th Century. It encompasses its own world, life and death....the G Major is an exquisite jewel from start to finish with an ethereal slow movement.

[Luke]

You and I love Ravel's music, but let me say there are several works he composed that I dislike: Bolero being the most obvious, Tzigane (one of the worst pieces I've ever heard from any composer) to name two. I'm sure there others that I can't think of right now. As I said, for me, it is those glimpses into his heart that continue to bring me back to his music.

Ha - you've picked two pieces which I agree, don't often heat me up particularly, eiher. But that isn't important. Both of those pieces are true to Ravel's core principles, are as full of impeccable craftsmanship and use of those typical masks and artifices as any of the others. In both cases, for me, it is a matter of loving the style as much as I do with any of Ravel's pieces, but not particularly liking the specific content or being that attracted to the mask being adopted.

[Mirror Image]

I'm with you guys on Ravel, mostly exquisite music. Just a few works don't do much for me: Valses Nobles, La Valse....I don't mind Bolero actually.
All the chamber music, most of the piano music, everything else is great. The 2 piano concerti are among the best ever. The Left Hand in particular is a great masterpiece, imho, of the 20th Century. It encompasses its own world, life and death....the G Major is an exquisite jewel from start to finish with an ethereal slow movement.

Yes, I love Ravel's chamber music. His Piano Trio is such a masterpiece. I'm actually listening to the Piano Concerto in G major right now with Bavouzet on piano with Tortelier conducting the BBC Symphony Orchestra on Chandos. Have you heard this one?

[Mirror Image]

Ha - you've picked two pieces which I agree, don't often heat me up particularly, eiher. But that isn't important. Both of those pieces are true to Ravel's core principles, are as full of impeccable craftsmanship and use of those typical masks and artifices as any of the others. In both cases, for me, it is a matter of loving the style as much as I do with any of Ravel's pieces, but not particularly liking the specific content or being that attracted to the mask being adopted.

Well I'm more for content than I am craftsmanship. It used to be the other way around. I used to be so obsessed with orchestration and composers who excelled in this area like Ravel (of course), R. Strauss, Berlioz, Rimsky-Korsakov, Dutilleux, Stravinsky, Szymanowski, Bartok, etc., but as time has gone on, I'm more impressed with what the music says to me than some elaborate smoke and mirrors approach to music (not saying that any of the afore mentioned composers have done this but merely making a point). I still value orchestration and orchestral clarity, which is why I favor so many French composers, but it is the content that moves me, the orchestration only adds to the overall enjoyment.

[Luke]

Well I'm more for content than I am craftsmanship. It used to be the other way around. I used to be so obsessed with orchestration and composers who excelled in this area like Ravel (of course), R. Strauss, Berlioz, Rimsky-Korsakov, Dutilleux, Stravinsky, Szymanowski, Bartok, etc., but as time has gone on, I'm more impressed with what the music says to me than some elaborate smoke and mirrors approach to music (not saying that any of the afore mentioned composers have done this but merely making a point). I still value orchestration and orchestral clarity, which is why I favor so many French composers, but it is the content that moves me, the orchestration only adds to the overall enjoyment.

It was late when I posted the lines you were responding to here - I didn't express myself well. I certainly didn't mean to imply, though I think I did, that it is the orchestration or the 'smoke and mirrors' that I find intoxicating about Ravel. No, what I am talking about I find in his piano music, his songs just as much as anywhere else. No, what I meant was that Ravel, as a composer, is all about choosing a mask and wearing it, is all about this artifice - as a man he was obsessed with this quality: it's why he loved automata and toys and fakes, it's why he wanted his Daphnis to be an 18th century stylized vision of Ancient Greece rather than the real things and so on. In practically every piece he wrote we find this idea somewhere. Funnily enough, this artificiality is what give the music its heart. One is aware of the genuine emotion pumping away, under the surface. And as I said last night, sometimes it breaks through. What is L'enfant if not a sequence of stylised artifices, pastiches which, we suddenly realise, are only thinly coverig the enormous humanity which the opera reveals in its final pages; what is La Valse if not a set of delicious fake-Viennese dance tunes which turn obsessive and destructive in a frightening sense; what is the first song of Scheherazade if not a western child's picture book of the exotic East....and yet every word is meant, and the climax is no less gripping, human and passionate for its unreality. The list could be multiplied to include almost every piece Ravel ever wrote. So - here's the point, at last! - what I meant about Bolero and Tzigane wasn't that I appreciated their orchestral colouring but not their content, it was that I know that in these pieces too that very special brand of Ravel artifice is at play, but that in their cases I don't respond so much to the mask that is being worn. Or, perhaps more likely, I don't sense the humanity under the surface in these pieces as I do everywhere else in Ravel.

I talk too much.

Leon - it is odd isn't it!? I can't imagine how anyone coul not respond to the LH concerto in this sort of way. In fact, when you initial brought up your feelings on this point, I had to double take because I assumed you'd mixed the names of the two pieces up by mistake!  It all goes to show, though, doesn't it, how widely views of the same piece can vary, and thank goodness for that!

[Mirror Image]

It was late when I posted the lines you were responding to here - I didn't express myself well. I certainly didn't mean to imply, though I think I did, that it is the orchestration or the 'smoke and mirrors' that I find intoxicating about Ravel. No, what I am talking about I find in his piano music, his songs just as much as anywhere else. No, what I meant was that Ravel, as a composer, is all about choosing a mask and wearing it, is all about this artifice - as a man he was obsessed with this quality: it's why he loved automata and toys and fakes, it's why he wanted his Daphnis to be an 18th century stylized vision of Ancient Greece rather than the real things and so on. In practically every piece he wrote we find this idea somewhere. Funnily enough, this artificiality is what give the music its heart. One is aware of the genuine emotion pumping away, under the surface. And as I said last night, sometimes it breaks through. What is L'enfant if not a sequence of stylised artifices, pastiches which, we suddenly realise, are only thinly coverig the enormous humanity which the opera reveals in its final pages; what is La Valse if not a set of delicious fake-Viennese dance tunes which turn obsessive and destructive in a frightening sense; what is the first song of Scheherazade if not a western child's picture book of the exotic East....and yet every word is meant, and the climax is no less gripping, human and passionate for its unreality. The list could be multiplied to include almost every piece Ravel ever wrote. So - here's the point, at last! - what I meant about Bolero and Tzigane wasn't that I appreciated their orchestral colouring but not their content, it was that I know that in these pieces too that very special brand of Ravel artifice is at play, but that in their cases I don't respond so much to the mask that is being worn. Or, perhaps more likely, I don't sense the humanity under the surface in these pieces as I do everywhere else in Ravel.

One of the most interesting things about Ravel, for me, isn't the orchestration or the rhythms but his approach to harmony. I love those unresolved 9th and 11th chord voicings he employed. The textural aspect of Ravel is a sonic marvel. It is within these harmonies that I find the heart of the man himself. He was an unusual figure in the early 20th Century. He was obviously indebted to Debussy's music, but at the same time, Ravel didn't want to free himself completely of the past. He put his own unique stamp on this Impressionistic sound. One thing that really moved Ravel on a different path, besides being somewhat of a classicist, was the music of Spain and jazz. Ravel was Basque, so he heard a lot of Spanish music growing up. This, without question, colored his music. I think his own life is an interesting one as not much is known about it. Could it be that his music gives some hints into his life? I read some article where Ravel spent some time in whore houses. Obviously the man was lonely and this sense of isolation from the real world, which coincides with the point you made, is why he chose to escape reality as much as he could. This is why he loved "fake" things. He was an escapist of many different guises.

[Luke]

You should visit his house in Montfort l'Amaury. I went there when I was about 15 - the housekeeper sneered at me - this kid traipsing round after his parents not appreciating a thing - until she realised that I was the reason they were there, and I was utterly absorbed. It held me spellbound, it is the physical expression of his personality, mirroring his music perfectly. One of the formative experiences of my life. Since then I have made detours on journeys through France just to be able to drive past the place!!

   

and above all


Or just look here  http://www.maurice-ravel.net/belved.htm

[mc ukrneal]

After Leon

+2 Beethoven 5
+1 Beethoven 4
-1 Schoenberg Concerto

List:
Alkan: Concerto pour piano seul, op.39/8-10 [7]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [10]
Beethoven: Piano Concerto № 4 in G major, op.58 [18]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [10]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [8]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [0.]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [9]
Poulenc: Aubade, Concerto for piano and 18 instruments [2]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [15]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [10]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [3]
Villa-Lobos: Choros No. 11 for piano and orchestra [2]

Despite Ravel being elevated, we still have 25 items to choose from...

[karlhenning]

After Neal

+3 Schoenberg: Piano Concerto
+2 Bartók: Piano Concerto № 2 Sz. 95
+1 Alkan: Concerto pour piano seul, op.39/8-10
-1 Tcherepnin: Piano Concerto No. 2  op. 22
-2 Poulenc: Aubade, Concerto for piano and 18 instruments

List:

Alkan: Concerto pour piano seul, op.39/8-10 [8]
Bach: Concerto for Harpsichord and Orchestra in D minor, BWV 1052 (0)
Bartók: Piano Concerto № 2 Sz. 95 [12]
Beethoven: Piano Concerto № 4 in G major, op.58 [18]
Beethoven: Piano Concerto No. 5 in E flat, Op. 73 [10]
Brahms: Piano Concerto No.1 in D minor, op.15 [13]
Busoni: Piano Concerto in C major, Op. 39 [5]
Chopin: Piano Concerto No.1 in E minor op.11 [6]
de Falla: Nights in the Gardens of Spain (Noches en los Jardines de España) [8]
Dvořák: Piano Concerto in G minor, op.33 [7]
Hummel: Concerto in C Major, Op. 34  [0.]
Mozart: Concerto № 20 in D Minor, K.466 [0.]
Mozart: Concerto № 21 in C, K.467 (0)
Mozart: Concerto № 23 in A Major, K.488 [14]
Mozart: Concerto № 24 in C minor, K.491 [9]
Poulenc: Aubade, Concerto for piano and 18 instruments [0.]
Prokofiev: Piano Concerto No.1 in D flat major, op.10 [6]
Prokofiev: Piano Concerto № 5 in G major, op.55 [0.]
Rachmaninov: Concerto № 3 in D minor, Op.30 [15]
Saint-Saëns: Piano Concerto No.2 in G minor, op.22 [5]
Schoenberg: Piano Concerto [13]
Scriabin: Piano Concerto in F sharp minor, op.20 [5]
Stravinsky: Capriccio for Piano and Orchestra [0.]
Tcherepnin: Piano Concerto No. 2  op. 22 [2]
Villa-Lobos: Choros No. 11 for piano and orchestra [2]