Franz Schreker (1878-1934) is largely forgotten today, but in his time he was Richard Strauss’ main rival for the title of Germany’s leading composer of opera. Schreker wrote complex harmonic scores using advanced chromatic harmonies and large orchestras, yet his

In the nineteenth century Franz Liszt probably did more than any other composer for the genre of the piano transcription. His transcriptions and paraphrases made an important contribution to the development of piano music, with their technical challenges, innovative notation,

Every summer a rather special piano festival takes place at Schloss vor Husum in the remote North German seaside town of Husum in Schleswig-Holstein. It is not a festival which parades its star performers. Rather, its very remoteness and its

Last time, I introduced you to the Columbia Music Typewriter. And rightfully, you must have thought that it really doesn’t look anything like a conventional typewriter or a machine operated via a keyboard. And it certainly looked rather cumbersome to

Why play an early or “period” piano? An instrument which may have significant limitations compared to a precisely made and carefully calibrated modern instrument, and surely “better” and infinitely more sturdy and reliable than an old piano?

Tracing one’s roots is a popular pastime today. In music, the schools of cello playing can be traced genealogically through the connection we have with our teachers, and their teachers. Just as with piano teaching traditions, the Russian school of

In his day, Franz Strauss was recognized as an important artistic personality. Foremost, he was a celebrated horn virtuoso, “breathing soul into the unthankful instrument.” Even Richard Wagner, against whom the musically conservative Strauss took literally every opportunity to make

“I wish to be honest,” wrote Jean Françaix (1912-1997), “When I am composing, the finest theories are the last things that come to mind. My interest is not primarily attracted by the motorways of thought, but more the paths through