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It's Fun to Play the Piano ... Please Pass It On!
14:12 - 47:02. The movement preceding it (0:00 - 14:12) is pretty profound too - not only its music but in its influence on Wagner. If you know your Parsifal you'll hear it.
Bach Goldberg Variations Aria Schumann Traumeri Chopin Nocturne No 21 Schubert Piano Sonata no 21 1st movement Beethoven Bagatelle no 5, opus 57 2nd movement, Piano Concerto no 5 2nd movement Brahms Piano Concerto 2, 3rd movement Liszt Ballade no 2
Schubert: D960 second movement Mahler: Das Lied von der Erde, last movement - many places, but particularly the ending. Ewig, ewig ... Mahler: Symphony #3, last movement. I'm not a great brass lover, but when the brass come quietly in with the main theme about 5 minutes from the end - it gets me every time. Strauss: Beim Schlafengehen Berg: Violin concerto, at the end where it all begins to dissolve.
That's the first music I thought of when I saw the subject line of this thread. I can't even listen to it anymore if the performance is any good, it's just too painful.
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Berg: Violin concerto, at the end where it all begins to dissolve.
Yes, the Berg... Interestingly, I just read that Christian Tetzlaff sees the dedication to Manon Gropius as a smokescreen, and that the concerto is really a kind of self-requiem.
Speaking of string music, the last couple of minutes of the Dvorak cello concerto...
Nothing hits me hard every time, but the final section of Mahler's Tenth (from the reappearance of the catastrophe chord) gets me surprisingly often, though only in the context of listening to the entire work, since the section dispells the tension that gathers from Purgatorio onwards.
Also, the finale of Mozart's Figaro, another wonderful resolution (and again, only in the context of listening to the entire work).
Die Krebs gehn zurucke, Die Stockfisch bleiben dicke, Die Karpfen viel fressen, Die Predigt vergessen.
It's not perfectly played, yet perfect mind state he is in. The feeling, and he's got the right idea. I prefer this interpretation to many of his recordings. I think he was nervous.
For me, the "Kyrie", "Pie Jesu", and "In Paradisum" from Maurice Durufle's "Requiem". As I mentioned in another thread, Brahms, Rachmaninoff, and Barber seem to be especially gifted at inducing teary moments:
Brahms -- 3rd Movement of Piano Concerto #2 Intermezzo 119/1 Rachmaninoff -- Vocalise 2nd Movement of Piano Sonata #2 Barber -- Conclusion of "Knoxville -- Summer of 1915" Conclusion of aria "Do Not Enter Yet, Anatol" from "Vanessa"
Maybe a few surprises:
Prokofiev -- Conclusion of Violin Sonata, Op 80. Lowell Liebermann -- Conclusion of Nocturne No 8
Fugato at the end of 'Hostias' in Mozart's Requiem the return of the Aria at the end of Bach's Goldbergs the 2nd movement of Mozart's KV 488 'La chanson des vieux amants' by Brel 'Hallelujah' by Cohen, sung by Jeff Buckley Andante from Mahler's 6th symphony Adagio from Rachmaninoff's 2nd symphony
not entirely passages, but I need a handkerchief all the same.
Bach Goldberg Variations Aria Schumann Traumeri Chopin Nocturne No 21 Schubert Piano Sonata no 21 1st movement Beethoven Bagatelle no 5, opus 57 2nd movement, Piano Concerto no 5 2nd movement Brahms Piano Concerto 2, 3rd movement Liszt Ballade no 2
I grabbed a tissue when I posted the link this morning. !! 
