Johannes Brahms’ (1833-1897) intricate late piano works, from Op. 116 to Op. 119, were composed from 1892 to 1893 and have been known for their reflective nature, amalgamated with lyricism, desolation and heart-warming moments. The probable dedicatee of these works,

When I was a young student I sought out the best teachers, practiced many hours, and performed a great deal of repertoire with the ambition to land a position in a major orchestra. I thought playing well would be enough

The exceptional Polish violinist Bronisław Huberman never tired of asking Erich Korngold for a violin concerto. Huberman had been an old family friend from their days in Vienna, but having been forced into exile to Southern California, Korngold was determined

The musical Fantasy (or Fantasia or Fantasie) has its roots in improvisation and rarely follows a strict musical structure (such as Sonata or Ternary form). In this respect the Fantasy is related to the Impromptu (a genre favoured by Schubert).

When Pyotr Ilyich Tchaikovsky‘s Symphony No. 4 in F minor premiered at a Russian Musical Society concert in Moscow on 10 February 1878, it represented a veritable breakthrough in terms of emotional depth and complexity. This symphonic hybrid, which subsequently

Piano accompanists are, rather like page turners, the unsung heroes and heroines of the music world, often receiving smaller concert fees and less prominent billing than the singers and instrumentalists with whom they work. Often unfairly regarded as “failed soloists”,

I’d never had one…until today. A dense, dark grey ball the size of a quarter, rolling around inside my cello. I had been practicing the Spanish piece by Gaspar Cassadó Requiebros full of passion and fervor. While wailing on the

Béla Bartók did not see the premiere of his 3rd Piano Concerto. After completing the score—he wrote the Hungarian words “the end” after the last measures of this concerto—Bartók was transferred to a West Side hospital where he died four