Chopin Classic Suite Vol. 4

The E major Etude, known as "Tristesse", built on one of the most singable melodies in the piano repertoire: sweet and nostalgic at the edges, with a stormier central episode before the tune returns. Four minutes of pure sentiment with a clear beginning and end.

The "Revolutionary" Etude in C minor: two and a half minutes of turbulent solo piano, storming left-hand figuration under a defiant declamatory melody. The most agitated and driving item on the album, and the obvious choice when a scene needs sudden intensity.

A long, brooding solo piano nocturne in F sharp minor, more sombre and searching than its D flat companion, with a wistful, hymn-like quality across nearly eight minutes. Suits interior scenes of loneliness or unresolved longing.

The funeral march from the B flat minor Sonata: a heavy, tolling solo piano tread in a slow lento, opening into a hushed consoling middle section before the darkness returns. Almost nine minutes of unmistakable grief, instantly recognisable to audiences.

A bright, extroverted concert waltz in E flat for solo piano, cheerful and forward-moving with swirling ballroom momentum. The most sociable cue on the album, good for anything that needs period gaiety or comic elegance.

The famous D flat major Nocturne for solo piano: a warm, ornamented cantabile line over a rocking left hand, tender throughout with a mid-piece rise in intensity. Six minutes of unhurried romance that reads as elegance and private feeling.

The slow central movement of the E minor concerto, an eleven-and-a-half-minute nocturne for piano and orchestra built on long-breathed, yearning melody. The gentlest and most sustained piece here, ideal for extended emotional sequences or reflective narration.

The full opening movement of the First Piano Concerto in E minor, over ten minutes of solo piano against orchestra, moving between grand declamatory tuttis and lyrical, romantic solo passages. Its length and dynamic swing suit long-form use where a scene needs stature and forward drama rather than a background wash.

A brief, inward mazurka in F minor for solo piano, its dance lilt shadowed by minor-key regret. At just over two minutes it works as a short, self-contained sentimental interlude rather than an underscore bed.