Stephanie McCallum, Erin Helyard - Four Hands On Stage (2026) [Hi-Res]

Tracklist

01. Operette ohne Text, Op. 106: No. 1, Ouverture
02. Operette ohne Text, Op. 106: No. 2, Romanze des Mädchens
03. Operette ohne Text, Op. 106: No. 3, Polterarie
04. Operette ohne Text, Op. 106: No. 4, Jägerchor und Ensemble
05. Operette ohne Text, Op. 106: No. 5, Romanze des Jünglings
06. Operette ohne Text, Op. 106: No. 6, Duettino
07. Operette ohne Text, Op. 106: No. 7, Trinklied mit Chor
08. Operette ohne Text, Op. 106: No. 8, Marsch
09. Operette ohne Text, Op. 106: No. 9, Terzett
10. Operette ohne Text, Op. 106: No. 10, Frauenchor
11. Operette ohne Text, Op. 106: No. 11, Tanz
12. Operette ohne Text, Op. 106: No. 12, Schlussgesang
13. Grande Sonate Symphonique No. 2 in B Minor, Op. 112: I. Andante patetico – Allegro agitato
14. Grande Sonate Symphonique No. 2 in B Minor, Op. 112: II. Andante espressivo
15. Grande Sonate Symphonique No. 2 in B Minor, Op. 112: III. Scherzo alla tedesca antica (Allegretto)
16. Grande Sonate Symphonique No. 2 in B Minor, Op. 112: IV. Andante patetico – Allegro con brio

In the days before recorded sound, people usually learned their orchestral music at home, playing it in piano transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protégé of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further yet, following Moscheles’ symphony without an orchestra with an opera without singers – both works bold genre-busters well before the term had even been invented.