“There isn’t a day when I sit down to play the piano that I don’t think of him, in my mind hearing what he said when I played certain pieces” – Sarah Beth Briggs, British concert pianist

“perhaps the most impassioned music I have ever written.”Robert Schumann writing to Clara Wieck, March 1838 Never one for disguising his emotions, Robert Schumann wore his heart on his sleeve and his music reflects his joy at being alive –

Music has the power to tug at the heartstrings, and evoking emotion is the main purpose of music – whether it’s joy or sadness, excitement or meditation. A certain melody or line of a song, a falling phrase, the delayed

The music of Alexander Scriabin inhabits a distinctive, personal soundworld which is hard to define. It is the music of excess, ecstasy, tumult and passion. It is excessive, overripe, decadent, heavily perfumed, sensuous and frenzied, lacking in structure and sometimes

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,

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).

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

“Music carries me immediately and directly into the mental condition in which the man was who composed it. My soul merges with his and together with him I pass from one condition into another, but why this happens I don’t