Few works in the orchestral repertoire have had a stranger journey to the concert hall than Franz Schubert’s Symphony No. 9 in C major, often nicknamed the “Great” C-major Symphony. For one, it started with composer Robert Schumann rediscovering the

Rising young American pianist George Xiaoyuan Fu releases his third album, Solitude with Schubert, in the form of an evening of Franz Schubert (1797–1828). Just as in Schubert’s time, when the eponymous ‘Schubertiade’ hosted by the composer for his friends

Depending on your sources, Franz Schubert (1797–1828) has his final symphony, The Great, D. 944, variously numbered as Symphony No. 7 or Symphony No. 8 or Symphony No. 9 or Symphony No. 10. We now know, through style and paper

French pianist Michel Dalberto, winner of the Clara Haskil Prize and the First Prize in the Leeds International Piano Competition, selected the music of Franz Schubert for his first commercial recording. His recording of two piano sonatas by Franz Schubert

In Frankfurt, Grigory Sokolov’s Schubert D960 did not sound like a work looking back. It sounded like a work leaving. That distinction matters. Many performances of Schubert’s last B-flat major sonata are shaped by memory: they invite the listener into

As the first issue of a 5-year contract with Da Vinci Classics, pianist Hyewon Chang appears on Schubert Piano Sonata, Vol. 1, where she plays Piano Sonatas dating from 1817, 1819, and 1828. By choosing these three sonatas, Chang has

Franz Liszt spent several years creating piano versions of Franz Schubert’s songs. Crafted between 1833 and 1846, he made around fifty-six transcriptions that carefully kept many details of the original music. By removing the words, these pieces become purely instrumental.

Schubert’s Winterreise, published in 1828, the year of the composer’s death at the age of 31, is often described as the greatest song-cycle ever written. Its central themes and preoccupations – love and loss, life and death – resonate through