Royalty Free Romantic Chamber Music

Description: The Barcarole in F-sharp major, Op. 60 is a grand, expansive work from the late period in the oeuvre of Fr�d�ric Chopin. Written in the years 1845-46, it was published in 1846. Chopin refers in this work to the convention of the barcarola - a song of the Venetian gondoliers which inspired many outstanding composers of the nineteenth century, including Mendelssohn-Bartholdy, Liszt and Faur�. Yet it is hard to find a barcarolle that would compare with Chopin's work for beauty and compositional artistry.

Description: A wonderful rendition of the classical piano piece by Franz Liszt. Starting very quiet, then gradually building throughout, this is a perfect track for projects needing delicate, heartfelt, passionate solo piano music.

Description: The principal theme of Frederic Chopin's Grande Polonaise Brilliante in E-flat major, Op. 22 combines soaring flight with spirit and verve, bravura with elegance - all of those features that characterize a dance in the style brillant. As befits a composition in the brillant style, the work is rounded off with a dazzling, refulgent coda. The end result is a work in grand style, par excellence virtuosic. The piece is a magnificent example of the genre. Played with the utmost fluency, subtlety and sensitivity to the beauty of the sound, it achieves exemplary elegance, freedom, and freshness.

Description: Moderato from Concerto No. 1 C-dur for Cello by Joseph Haydn.

Description: Fr�d�ric Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, popularly known as The Funeral March, was completed in 1839 at Nohant, near Ch�teauroux in France. However, the third movement, whence comes the sonata's common nickname, had been composed as early as 1837. The Sonata is considered to be one of the greatest masterworks of the nineteenth century. The third movement Marche fun�bre: Lento begins and ends with the celebrated funeral march in B-flat minor which gives the sonata its nickname, but has a calm interlude in D-flat major. The emotive "funeral march" has become well known in popular culture. It was used at the state funerals of John F. Kennedy, Sir Winston Churchill and Margaret Thatcher. It was also played in the funeral of the Spanish poet Miguel Hern�ndez and at the graveside during Chopin's own burial at P�re Lachaise Cemetery in Paris.

Description: Ballade No. 1 in G minor, Op. 23, composed in 1831 during Fr�d�ric Chopin's early years in Vienna, was a reflection about his loneliness in the city far away from home, where a war was happening against the Russian Empire's oppression. Once finished, it wasn't published until his move to Paris, where he dedicated it to Baron Nathaniel von Stockhausen, the Hanoverian ambassador to France.

Description: This Sonatina for guitar by well known Italian guitarist and composer Mauro Giuliani can help you to create an unique atmosphere of the romantic epoch of noble kings, beautiful princesses and fearless knights!

Description: The Scherzo No. 2 in B-flat minor, Op. 31 was composed and published in 1837. Schumann compared this scherzo to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt." The renowned sotto voce opening was a question and the second phrase the answer. For Chopin it was never questioning enough, never soft enough, never vaulted enough. It must be a charnel-house. In popular culture, the piece is heard in the Woody Woodpecker episode "Musical Moments."

Description: The Scherzo No. 3, Op. 39, in C-sharp minor by Fr�d�ric Chopin, completed in 1839, was written in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain. This is the most terse, ironic, and tightly constructed of the four scherzos, with an almost Beethovenian grandeur. The music is given over to a wild frenzy, mysteriously becalmed, then erupting a moment later with a return of the aggressive octaves.

Description: The Scherzo No. 4 in E major, Op. 54 is different from the other scherzos by Chopin. Close to the fairytale sphere, though devoid of elves and goblins, it is brighter than the others, written with a finer, lighter pen, though it too occasionally reminds us of the existence of shadows and frights. Two categories of expression form this pianistic poem, which delights us with the immaculate beauty of its sound: the expression of play and the expression of love. The central section of the E major Scherzo (lento, then sostenuto) is filled with thoughtful music, gazing at distant horizons, sounding like the expression of pure yet ardent love.