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Drunt'in der Lobau
Serenade for violin & piano No. 1 in A
España, album leaves (6) for piano, Op. 165, B. 37: Tango
Brise de mer, song for voice & piano
Il Bacio par Félix Arndt
Sie horen - Potpourri
Serenade for voice & piano (or orchestra) ("Rimpianto"), Op. 6/1
Poem, for orchestra, Op. 41/4
Spiel auf deiner Geige das Lied von Leid und Lust
Mattinata ("L'aurora di bianco vestita"), song for voice & piano (or orchestra)
Wien, du Stadt meiner Träume (Vienna, City of My Dreams) ("Wien, Wien, nur du allein")
Relicario, for orchestra
Arlekinada (Harlequin's Millions), ballet
Les Patineurs Valse ("Skater's Waltz"), Op. 183
Melody in F, instrumental arrangement, Op. 3/1
Salon Orchestra Favourites - Pearls of European salon music
At the end of the nineteenth and the beginning of the twentieth century salon music was a phenomenon that could be found all over Europe. Following the trail blazed by the triumphal processions of legendary virtuosos such as the Italian violinist Niccolò Paganini (1782-1840), the Polish pianist Frédéric Chopin (1810-1849) and the Austro-Hungarian pianist Franz Liszt (1811-1886) or the French cellist Adrien-François Servais (1807-1866), a musical culture developed which transcended all national boundaries. But only selected examples were passed on to the concert-halls of posterity; most of this music, if it survived at all, was doomed to an underground existence, for the preservers of pure music took exception to the increasing emphasis laid on commercial aspects. Nevertheless, it would hardly be exaggerating to say that salon music was simply the reaction to new socio-economic circumstances. A growing market, in which direct means of musical reproduction were still unknown, had to be supplied with compositions which were so easy on the ear that the mass sale of printed music could be guaranteed by virtue of this alone. In these circumstances widespread popularity could only be to advantage, national colouring providing at best an additional breath of exoticism. Later eras have adopted the prejudicial view that this process inevitably produced works of inferior quality, a prejudice which can be refuted by this collection of some of these pearls.