Published in 1828, the year Schubert died, and written between 1823 and 1828, the six Moments Musicaux (literally “musical moments”) are amongst Schubert’s best-loved works for piano and are as accessible to the competent amateur pianist as they are to

Alfred Brendel describes Schubert as “a sleepwalker”, yet in his final three sonatas, we see Schubert’s innate sense of musical geometry and his bold treatment of traditional sonata form. These are tightly-organised woks with almost perfectly-balanced structures, perhaps most obviously

Ignored for years, their composer regarded as Beethoven‘s poor relation, Schubert‘s last three piano sonatas now enjoy a special place in the piano repertoire, ranking alongside Beethoven’s final three piano sonatas, and they hold a particular fascination for pianists, audiences,

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).

Franz Schubert composed his set of six German Dances in October 1824 for his piano student Countess Caroline Esterházy. Everybody knew that Schubert was deeply in love with his 18-year old student, and a number of compositions were the direct

Nobody composed variations like Franz Schubert! An undisputed master of the genre, his variations on his own melodies become a fascinating combination of formal innovation and musical poetics. Peeling away layer upon layer of significance and meaning, Schubert bathes his

In all, the remarkable collection of Schubert’s Lieder transcriptions by Franz Liszt totaled 58 songs. Liszt first handed twelve of these piano transcriptions to a Viennese publisher in 1838 and his concluding efforts emerged 10 years later in 1848.

Greatness will invariably recognize greatness! And Franz Liszt’s efforts and commitment on behalf of forgotten masterpieces set a powerful trend in the 19th century. As such it is hardly surprising that Franz Schubert occupied a central place in Liszt’s transcriptions