Piano Festival

This 1996 release features Pietro Spada's interpretation of “Sonata, C Major, K 159, LV 104: La Caccia” by Domenico Scarlatti. The sonata's hunting reference can provide a compact period cue for a lively scene.

Pietro Spada's interpretation of Wolfgang Amadeus Mozart's “Piano Sonata, A Major KV 331: Alla turca” appears on this 1996 release. The Turkish-style march offers a recognisable rhythmic cue for a brisk theatrical entrance.

“Toccata, B-Flat Major, Op. 13” by Muzio Clementi is performed by Pietro Spada on this 1996 release. The toccata form provides a virtuoso keyboard cue for a lively period-scene transition.

This 1996 release features Pietro Spada's interpretation of “Bagatelle, A Minor, Op. 59: Für Elise” by Ludwig van Beethoven. The recurring main melody offers a recognisable musical reference for an intimate romantic scene.

Pietro Spada's interpretation of Felix Mendelssohn's “Lieder ohne Worte, Op. 19 No. 6: Venetianisches Gondellied” appears on this 1996 release. The gondola-song form suggests a rocking accompaniment for a reflective waterside scene.

“Etude, E Major, Op. 10 No. 3: Tristesse” by Frédéric Chopin is performed by Pietro Spada on this 1996 release. The study's cantabile theme can support a restrained scene of affection or remembrance.

This 1996 release features Pietro Spada's interpretation of “Kinderszenen, Op. 15: Träumerei” by Robert Schumann. This miniature from ‘Scenes from Childhood’ offers an intimate musical reference for a memory sequence.

Pietro Spada's interpretation of Franz Liszt's “in A-Flat Major, R 211 No. 3: Liebestraum” appears on this 1996 release. The lyrical nocturne can frame a quiet romantic scene without requiring a large dramatic gesture.

“Suite Bergamasque: Clair de lune” by Claude Debussy is performed by Pietro Spada on this 1996 release. The suite's slow third movement offers a restrained nocturnal setting for a period scene.

This 1996 release features Pietro Spada's interpretation of “Prélude, C-Sharp Minor, Op. 3 No. 2” by Sergei Rachmaninoff. The prelude's chordal theme offers a weighty musical accent for a film introduction.

Pietro Spada's interpretation of Manuel De Falla's “El Amor brujo: Danza ritual del fuego” appears on this 1996 release. The ritual-dance subject provides a sharply defined rhythmic cue for a theatrical scene.

“The Love For Three Oranges: March” by Sergei Prokofiev is performed by Pietro Spada on this 1996 release. The fairy-tale opera's march supplies a pointed rhythmic cue for a character's entrance in animation.