This is the second instalment of a period-instruments series pairing Schumann’s concertos and piano trios. Alexander Melnikov plays an 1837 Erard in the Piano Concerto, an 1847 Streicher in the Trio ...

Pianist Michelle Cann will perform Clara Schumann's first and only piano concerto with the Arkansas Symphony and conductor Geoffrey Robson this weekend at Little Rock's Robinson Center Performance ...

In today’s large concert-halls a pianist playing on a period instrument is liable to be reduced to a faint tinkling in the distance. On disc it is another matter: Alexander Melnikov shows how ...

“Getting to have that back and forth, give and take, with such exceedingly fine musicians — this is really a beautiful thing,” Jonathan Biss said about his upcoming performance with the Boston ...

Performances in N.Y.C. Advertisement Supported by Two works by these composers have been marginalized in classical music, but they were never forgotten, as their histories show. By Sarah Fritz and A.

Robert Schumann: Overture, Scherzo and Finale, op. 52 (with additional movement, Childhood Dreams, composed in the style of Schumann by Paul Chihara) One of the cliché criticisms of Robert Schumann is ...

Received wisdom has it that Schumann’s late works fall off creatively, mirroring the composer’s failing mental health. These period instrument performances think differently. I’ve never heard quite ...