Not that I can play a lot of these, but:
Bach: English Suite No.4, Prelude; English Suite No.5, Gigue
Chopin: Sonata No.2, first movement; Sonata No.3, fourth movement; Scherzo No.3; Scherzo No.4; Etude Op.10 No.6; Etude Op.25 No.12
Debussy: Suite bergamasque, Passepied; Ballade in F major
Beethoven: Sonata No.7 in D major, first movement; 'Les adieux' sonata, first movement; 'Emperor' concerto, third movement
Dvorak: Humoresque Op.101 No.5 in A minor; Humoresque Op.101 No.8 in B-flat minor (cutting off suddenly and with an unexpected G natural as the penultimate note)
Brahms: Rhapsody Op.79 No.1; Rhapsody Op.79 No.2
Kabalevsky: Sonata No.1, first and third movements; Sonata No.2, third movement; Sonata No.3, first movement
Rachmaninov: Sonata No.2, third movement; Prelude Op.32 No.3 in E major
Prokofiev: Concerto No.3, first and third movements; Sonata No.7, first and third movements
Bartok: Sonata, third movement
Liszt: Hungarian Rhapsody No.4; Hungarian Rhapsody No.6; Hungarian Rhapsody No.15, Horowitz arrangement; 'Wilde jagd'; Prelude and Fugue on B-A-C-H
Alkan: Grande sonate, first and second movements; 'En rhythme molossique'; Symphony for Solo Piano, first and second movements
Shostakovich: Concerto No.2, first and third movements; Preludes Op.34: No.9 in E major, No.20 in C minor; Preludes and Fugues Op.87: No.4 in E minor, No.5 in D major, No.9 in E major, No.16 in B-flat minor, No.18 in F minor, No.20 in C minor, No.21 in B-flat major No.23 in F major
Observation about the Shostakovich Op.87: of the twelve minor key preludes and fugues, seven end on major resolutions - Nos.4, 8, 12, 16, 18, 20, and 24. The first three end with tierces de picardie, but while the E minor does so triumphantly, the F-sharp minor and G-sharp minor seem to "die quietly but with smiles on their faces". The next three feature extended yet understated major resolutions - I often think of the conclusion to the B-flat minor fugue (the transition to major in which is one of the most emotionally powerful moments in the entire set) as showing the fugue not only expiring with a smile on its face, but ascending to heaven afterward. The F minor fugue, despite ending in F major, still manages to end on a vaguely sad note (as does the prelude, which also ends in F major). The C minor fugue once again ends calmly rather than sadly. But the final resolution of the D minor fugue into major.... that's the only one I don't like. It strikes me as loud and overdone (the final D major section is longer than the entire D major fugue) - Shostakovich may have specialised in loud, grotesque pieces intended satirically (for example, every scherzo movement he ever wrote), but this is the one which rings most hollow for me.
Topic: Coolest ending to play!