Both the opus 29 works are of a showstopping character and they possess undeniable artistic qualities. The Romance in G major (6/8, Andante molto cantabile), with its lyrical character and drawn-out melody, points unequivocally to vocal, song prototypes for this genre, as also evidenced by the composer’s reference to the model of reprise-type ternary form. Contrasting with the Romance’s cantilena songfulness is the lively Danse fantastique that follows it. This piece requires considerable techni...