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Ce qu'a vu le vent d'ouest 2\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 1, L. 125, L. 117: VIII. La fille aux cheveux de lin 2\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 1, L. 125, L. 117: IX. La sérénade interrompue 2\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 1, L. 125, L. 117: X. La cathédrale engloutie 2\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 1, L. 125, L. 117: XI. La danse de Puck 2\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 1, L. 125, L. 117: XII. Minstrels 2\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: I. Prélude - Le sommeil de la boîte 2\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: II. Le magasin de jouets 3\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: III. Le champ de bataille 3\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: IV. La bergerie à vendre 3\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: V. Après fortune faite 3\u003c\/li\u003e\n\u003cli\u003eLa Boîte à joujoux, L. 136a, L. 128: VI. Épilogue 3\u003c\/li\u003e\n\u003cli\u003eCD 3- Préludes, Book 2, L. 131, L. 123: I. Brouillards 3\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: II. Feuilles mortes 3\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: III. La Puerta del Vino 3\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: IV. Les fées sont d'exquises danseuses 3\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: V. Bruyères 3\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: VI. General Lavine - excentric 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: VII. La terrasse des audiences du clair de lune 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: VIII. Ondine 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: IX. Hommage à S. Pickwick, Esq., P. P. M. P. C 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: X. Canope 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: XI. Les tierces alternées 4\u003c\/li\u003e\n\u003cli\u003ePréludes, Book 2, L. 131, L. 123: XII. Feux d'artifice 4\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: I. Pour invoquer Pan, dieu du vent d'été 4\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: II. Pour un tombeau sans nom 4\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: III. Pour que la nuit soit propice 4\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: IV. Pour la danseuse aux crotales 5\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: V. Pour l'Égyptienne 5\u003c\/li\u003e\n\u003cli\u003e6 Épigraphes antiques, L. 139b, L. 131: VI. Pour remercier la pluie au matin 5\u003c\/li\u003e\n\u003cli\u003eLa plus que lente, L. 128a, L. 121 5\u003c\/li\u003e\n\u003cli\u003eLe petit nègre, L. 122, L. 114 5\u003c\/li\u003e\n\u003cli\u003eHommage à Haydn, L. 123, L. 115 5\u003c\/li\u003e\n\u003cli\u003eMazurka, L. 75, L. 67 5\u003c\/li\u003e\n\u003cli\u003ePièce pour le Vêtement du blessé, L. 141, L. 133 5\u003c\/li\u003e\n\u003cli\u003eMorceau de concours (Musica), L. 117, L. 108 5\u003c\/li\u003e\n\u003cli\u003eDanse bohémienne, L. 4, L. 9 5\u003c\/li\u003e\n\u003cli\u003eCD 4- Children's Corner, L. 119a, L. 113: I. Doctor Gradus ad Parnassum 6\u003c\/li\u003e\n\u003cli\u003eChildren's Corner, L. 119a, L. 113: II. Jimbo's Lullaby 6\u003c\/li\u003e\n\u003cli\u003eChildren's Corner, L. 119a, L. 113: III. Serenade for the Doll 6\u003c\/li\u003e\n\u003cli\u003eChildren's Corner, L. 119a, L. 113: IV. The Snow is Dancing 6\u003c\/li\u003e\n\u003cli\u003eChildren's Corner, L. 119a, L. 113: V. The Little Shepherd 6\u003c\/li\u003e\n\u003cli\u003eChildren's Corner, L. 119a, L. 113: VI. Golliwog's Cakewalk 6\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: I. Pour les \"cinq doigts\" 6\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: II. Pour les Tierces 6\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: III. Pour les Quartes 6\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: IV. Pour les Sixtes 6\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: V. Pour les Octaves 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143a, L. 136, Book 1: VI. Pour les huit doigts 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: VII. Pour les degrés chromatiques 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: VIII. Pour les agréments 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: IX. Pour les notes répétées 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: X. Pour les sonorités opposées 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: XI. Pour les arpèges composés 7\u003c\/li\u003e\n\u003cli\u003e12 Études, L. 143b, L. 136, Book 2: XII. Pour les accords 7\u003c\/li\u003e\n\u003cli\u003eÉtude retrouvée, L. 143b, L. 136 7\u003c\/li\u003e\n\u003cli\u003eCD 5- Suite bergamasque, L. 82, L. 75: I. Prélude 7\u003c\/li\u003e\n\u003cli\u003eSuite bergamasque, L. 82, L. 75: II. Menuet 8\u003c\/li\u003e\n\u003cli\u003eSuite bergamasque, L. 82, L. 75: III. Clair de lune 8\u003c\/li\u003e\n\u003cli\u003eSuite bergamasque, L. 82, L. 75: IV. Passepied 8\u003c\/li\u003e\n\u003cli\u003ePour le piano, L 95, L. 95: I. Prélude 8\u003c\/li\u003e\n\u003cli\u003ePour le piano, L 95, L. 95: II. Sarabande 8\u003c\/li\u003e\n\u003cli\u003ePour le piano, L 95, L. 95: III. Toccata 8\u003c\/li\u003e\n\u003cli\u003eArabesques, L. 74, L. 66: No. 1 8\u003c\/li\u003e\n\u003cli\u003eArabesques, L. 74, L. 66: No. 2 8\u003c\/li\u003e\n\u003cli\u003eMasques, L. 110, L. 105 8\u003c\/li\u003e\n\u003cli\u003eL'Isle joyeuse, L. 109a, L. 106 8\u003c\/li\u003e\n\u003cli\u003eD'un cahier d'esquisses, L. 112, L. 99 9\u003c\/li\u003e\n\u003cli\u003eTarentelle Styrienne, L. 77a, L. 69 9\u003c\/li\u003e\n\u003cli\u003eNocturne, L. 89, L. 82 9\u003c\/li\u003e\n\u003cli\u003eBerceuse héroïque, L. 140a, L. 132 9\u003c\/li\u003e\n\u003cli\u003eÉlégie, L. 146, L. 138 9\u003c\/li\u003e\n\u003cli\u003eCD 6- Fantaisie for Piano and Orchestra, L 72a, L. 73: I. Andante - Allegro (Ed. André Jouve) 9\u003c\/li\u003e\n\u003cli\u003eFantaisie for Piano and Orchestra, L 72a, L. 73: II. Lento e molto espressivo (Ed. André Jouve) 9\u003c\/li\u003e\n\u003cli\u003eFantaisie for Piano and Orchestra, L 72a, L. 73: III. Allegro molto (Ed. André Jouve) 9\u003c\/li\u003e\n\u003cli\u003e4 Chansons de jeunesse: I. Pantomime, L. 47, L. 31 9\u003c\/li\u003e\n\u003cli\u003eClair de lune, L. 45, L. 32 9\u003c\/li\u003e\n\u003cli\u003ePierrot, L. 30, L. 15 10\u003c\/li\u003e\n\u003cli\u003eApparition, L. 57, L. 53 10\u003c\/li\u003e\n\u003cli\u003eMandoline, L. 43, L. 29 10\u003c\/li\u003e\n\u003cli\u003eZéphir, L. 19, L. 12 10\u003c\/li\u003e\n\u003cli\u003e- 3 Mélodies de Verlaine, L. 85, L. 81: III. L'échelonnement des haies 10\u003c\/li\u003e\n\u003cli\u003e2 Romances: II. Les Cloches, L. 66, L. 79 10\u003c\/li\u003e\n\u003cli\u003e- 2 Romances: I. L'me évaporée et souffrante, L. 65, L. 79 10\u003c\/li\u003e\n\u003cli\u003ePaysage sentimental, L. 55a, L. 45 10\u003c\/li\u003e\n\u003cli\u003eNoël des enfants qui n'ont plus de maison, L. 147a, L. 139 10\u003c\/li\u003e\n\u003cli\u003eAriettes oubliées, L. 63b, L. 60: I. C'est l'extase langoureuse (Second Version) 10\u003c\/li\u003e\n\u003cli\u003eAriettes oubliées, L. 63b, L. 60: II. Il pleure dans mon coeur (Second Version) 11\u003c\/li\u003e\n\u003cli\u003eAriettes oubliées, L. 63b, L. 60: III. L'ombre des arbres (Second Version) 11\u003c\/li\u003e\n\u003cli\u003eAriettes oubliées, L. 63b, L. 60: V. Aquarelles - I. Green (Second Version) 11\u003c\/li\u003e\n\u003cli\u003eAriettes oubliées, L. 63b, L. 60: V. Aquarelles - II. Spleen (Second Version) 11\u003c\/li\u003e\n\u003cli\u003e5 Poèmes de Baudelaire, L. 70, L. 64: IIIa. Le jet d'eau 11\u003c\/li\u003e\n\u003cli\u003eRondeau, L. 17, L. 30 11\u003c\/li\u003e\n\u003cli\u003e2 Romances: I. 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Nicholas Walker teaches at the Royal Academy of Music in London, where he devised the celebrated keyboard skills course, the advanced level of which not only helps students to be proficient in all aspects of practical musicianship, but offers them the chance to learn how to improvise in various forms, such as minuets, variations, sonatinas and Mozart-type cadenzas, in addition to devising and performing a virtuoso transcription of their own.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePiano Sonata in B-Flat minor\u003c\/li\u003e\n\u003cli\u003eI. Andantino\u003c\/li\u003e\n\u003cli\u003eII. Mazurka: Moderato\u003c\/li\u003e\n\u003cli\u003eIII. Intermezzo: Larghetto\u003c\/li\u003e\n\u003cli\u003eIV. Allegro Non Troppo, Ma Con Fuoco\u003c\/li\u003e\n\u003cli\u003ePiano Sonata No. 1 in B-Flat minor, Op. 5\u003c\/li\u003e\n\u003cli\u003eI. Andante - Allegro Assai, Feroce\u003c\/li\u003e\n\u003cli\u003eII. Mazurka: Tempo Di Mazurka\u003c\/li\u003e\n\u003cli\u003eIII. Andante\u003c\/li\u003e\n\u003cli\u003ePiano Sonata in B-Flat minor, Op. 3, \"Grande Sonate\"\u003c\/li\u003e\n\u003cli\u003eI. Allegro Feroce\u003c\/li\u003e\n\u003cli\u003eII. Mazurka\u003c\/li\u003e\n\u003cli\u003eIII. Larghetto\u003c\/li\u003e\n\u003cli\u003eIV. Finale: Allegro Grazioso\u003c\/li\u003e\n\u003cli\u003eV. 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