Waltz for piano No. 9 in A flat major ('L'adieu') Op. 69/1, CT. 215
Waltz for piano No. 10 in B minor, Op. 69/2, CT. 216
Waltz for piano No. 7 in C sharp minor, Op. 64/2, CT. 213
Nocturne for piano No. 9 in B major, Op. 32/1, CT. 116
Etude for piano No. 14 in F minor, Op. 25/2, CT. 27
Etude for piano No. 21 in G flat major, Op. 25/9, C. 34
Etude for piano No. 13 in A flat major, Op. 25/1, CT. 26
Waltz for piano No. 6 in D flat major ('Minute'), Op. 64/1, CT. 212
Consolation, for piano No. 1 in E major 'Andante con moto', S. 172/1 (LW A111a/2/1)
Consolation, for piano No. 2 in E major 'Un poco piů mosso', S. 172/2 (LW A111a/2/2)
Consolation, for piano No. 3 in D flat major 'Lento placido', S. 172/3 (LW A111a/2/2)
Consolation, for piano No. 5 in E major 'Andantino', S. 172/5 (LW A111a/2/5)
Etude for piano ('La Fileuse'), Op. 157/2
Prelude & Fugue for piano, Op. 6: Prelude in E flat minor
Sonata for keyboard in D minor, K. 9 (L. 413), 'Pastorale'
Se tu m'ami, for voice & piano (spurious; by A. Parisotti)
Ecossaises (6) for piano, WoO 83 (spurious)
Prelude for piano No. 6 in B minor, Op. 28/6, CT. 171
Prelude for piano No. 7 in A major, Op. 28/7, CT. 172
Prelude for piano No. 13 in F sharp major, Op. 28/13, CT. 178
Prelude for piano No. 23 in F major, Op. 28/23, CT. 188
Mazurka for piano No. 45 in A minor, Op. 67/4, CT. 95
Romance for piano in E flat major, Op. 44/1
Intermezzo for piano in B flat minor, Op. 117/2
Nocturne No.5, for piano in B flat major, H. 37
The Prima Ballerina
Vienna Waltz
Track Listings (18) - Disc #2
Waltz for piano No. 6 in D flat major ('Minute'), Op. 64/1, CT. 212
Waltz for piano No. 7 in C sharp minor, Op. 64/2, CT. 213
Prelude in C major for piano (or harp), Op. 12/7
La Passion
Sylvia, ou La nymphe de Diane, ballet: Valse lente
Murmuring Zephyrs
Sarabande con partite, for keyboard in C major, BWV 990: [Excerpt]
Pour le piano, suite for piano, L. 95: Prélude
Pour le piano, suite for piano, L. 95: Toccata
Sonatina super Carmen, for piano (No. 6), KiV 284
Les contes d'Hoffmann, opera in 4 acts: Barcarolle
Meine Puppe Tanzt
Concerto for piano & orchestra in F, Op 16: Larghetto
Rondo for piano in E flat major ('Favori'), Op. 11
Coppélia, ou La fille aux yeux d'émail, ballet: Valse lente
Sylvia, ou La nymphe de Diane, ballet: Pizzicati
Sonatina ad usum infantis, for piano (No.3), KiV 268
Sonatina in diem nativitatis Christi MCMXVII, for piano (No. 4), KiV 274
Michael Zadora is one of the most obscure pianists to have recorded prolifically in the 78rpm era. Only a handful of 78s have ever been reissued and no LP or CD has ever been devoted to him. It would appear that his concer... more »t career was also not particularly high profile, yet from these recordings it seems he was a very significant artist. Zadora, a desciple of Busoni, seems to have been a rather reserved character, much more an intellectual than someone who enjoyed public performance and it is likely that family wealth allowed him the luxury of not having to pursue his career too aggressively. On the other hand, studio recording suited him very well indeed, and he seems equally at home in the standard repertoire, such as Chopin, and in more rarefied material, such as Busoni Sonatinas, where we are undoubtedly hearing an intepretation very close to that of the composer himself. Of particular interest are Zadora's own unusual transcriptions and also the workd of 'Pietro Amadis' who was actually a pseudonym of the pianist.« less
Michael Zadora is one of the most obscure pianists to have recorded prolifically in the 78rpm era. Only a handful of 78s have ever been reissued and no LP or CD has ever been devoted to him. It would appear that his concert career was also not particularly high profile, yet from these recordings it seems he was a very significant artist. Zadora, a desciple of Busoni, seems to have been a rather reserved character, much more an intellectual than someone who enjoyed public performance and it is likely that family wealth allowed him the luxury of not having to pursue his career too aggressively. On the other hand, studio recording suited him very well indeed, and he seems equally at home in the standard repertoire, such as Chopin, and in more rarefied material, such as Busoni Sonatinas, where we are undoubtedly hearing an intepretation very close to that of the composer himself. Of particular interest are Zadora's own unusual transcriptions and also the workd of 'Pietro Amadis' who was actually a pseudonym of the pianist.