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Showing posts with label Classics with Klaus Döring Klassik mit Klaus Döring. Show all posts

Friday, May 8, 2026

Twenty Trivia Questions About Classical Music

  

Today we’re looking at the history of classical music for trivia inspiration. Learn about everything from a composer who murdered his wife, to a Venetian orchestra of talented orphans, to forbidden love affairs, a deaf composer at the premiere of his groundbreaking symphony, and hypnotherapy that inspired a piano concerto.

50 Times Great Composers Insulted Other Great Composers

© classicalregister.com

Without further ado, here are our twenty trivia questions from classical music history:

Which composer from Bingen is also known as a saint?

Hildegard of Bingen!

Hildegard of Bingen was born around 1098 in present-day Germany. She started having visions at an early age and joined a Benedictine monastery as a child.

Around 1150 she composed a famous sacred music drama called Ordo Virtutum, or Order of the Virtues.

Hildegard of Bingen wasn’t just a composer. She also wrote theological works based on her visions, as well as scientific and medical texts.

Some modern popes have referred to her as a saint.   

Which composer murdered his first wife and was never punished for it?

Carlo Gesualdo!

In 1586, when he was twenty, Gesualdo married his first cousin, Donna Maria d’Avalos. They had one son.

Four years later, Gesualdo came home and discovered his wife in bed with another man. Gesualdo killed both his wife and her lover with a gun and sword.

The authorities decided he had not committed a crime.   

Which composer died after striking his foot with a staff he used while conducting?

Jean-Baptiste Lully!

Italian composer Jean-Baptiste Lully was both a dancer and musician.

He got a job in the court of Louis XIV. In 1687, to celebrate Louis’s recovery from surgery, he conducted a performance of his Te Deum.

He conducted by pounding a staff on the floor. In the process, he accidentally hit his foot. Gangrene developed and he refused to amputate because he still wanted to be able to dance.

Lully died on 22 March 1687 of his injuries.   

Which composer had seven kids with his second cousin, and thirteen kids with his second wife?

Johann Sebastian Bach!

In 1707, Johann Sebastian Bach married his second cousin, Maria Barbara Bach.

She died tragically and unexpectedly in July 1720.

The following year, Bach married an accomplished young singer named Anna Magdalena. She was twenty and he was thirty-six.

They had thirteen children together. Their youngest child, a daughter named Regina Susanna, was only eight years old when he died.   

Which composer wrote music for virtuoso orchestra of women who had been abandoned as babies?

Antonio Vivaldi!

He was a teacher at a facility known as the Ospedale della Pietà, which took care of orphaned or abandoned children.

As children, the most musically talented girls were chosen to perform in the figlie di coro, or daughters of the choir. They would both sing and play instruments.

Vivaldi wrote many of his works for them.   

Which composer had a dream that the devil played violin for him – and then woke up and wrote it down?

Giuseppe Tartini!

Giuseppe Tartini wrote in Jérôme Lalande’s Voyage d’un François en Italie:

One night, in the year 1713 I dreamed I had made a pact with the devil for my soul. Everything went as I wished: my new servant anticipated my every desire. Among other things, I gave him my violin to see if he could play. How great was my astonishment on hearing a sonata so wonderful and so beautiful, played with such great art and intelligence, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted: my breath failed me, and I awoke. I immediately grasped my violin in order to retain, in part at least, the impression of my dream.

Even so, Tartini insisted that the work was not nearly as impressive as the one he’d dreamed.   

Which composer was fired by an archbishop and kicked on the behind?

Wolfgang Amadeus Mozart!

In 1781, Mozart was aiming to ingratiate himself with Emperor Joseph II, while still remaining employed with Prince-Archbishop Hieronymus Colloredo in his hometown of Salzburg.

Unfortunately, Colloredo kept Mozart from making lucrative appearances, and acrimony grew between them.

Mozart tried to resign, but Colloredo refused to accept the resignation.

Meanwhile, Mozart’s father was horrified at his son’s behavior and was encouraging him to make nice with the archbishop.

The following month, Colloredo finally accepted the resignation…but not before having his steward kick Mozart on the behind.

Mozart decided to make a go at freelancing in Vienna. The decision would change his life and career and music forever.   

Which composer was also one of the best swordsmen in Europe?

Joseph Bologne, Chevalier de Saint-Georges!

Bologne was the illegitimate son of a white planter named Georges and an enslaved Black woman named Nanon.

When he was seven, he was brought to France to be educated. At thirteen, he enrolled in a fencing academy. He soon proved to be a talented student.

A fencing master derided him by labeling him an “upstart mulatto.” Bologne beat that fencing master in a match, to the intense pride of his father.

Bologne also studied music as a teenager and became a great violinist and composer as an adult.    

Which composer had his skull stolen out of his coffin?

Joseph Haydn!

Haydn died in 1809 in Vienna and was buried. Soon after, the gravedigger was bribed by two men named Joseph Carl Rosenbaum and Johann Nepomuk Peter.

They wanted to examine Haydn’s skull because they were interested in phrenology, the pseudo-science then in vogue of associating character traits or talents with physical features.

Haydn’s skull ended up in Rosenbaum’s possession, and a series of darkly zany misadventures occurred.

Haydn’s skull and body were only reunited in the twentieth century, when a descendent of Haydn’s employer built a tomb for him.  

Which composer went deaf and had to be turned around to see the audience at the premiere of his ninth symphony?

Ludwig van Beethoven!

Beethoven was only in his mid-twenties in the 1790s when he first started noticing that his hearing was deteriorating.

By the time of the premiere of his ninth symphony in 1824, he had been completely deaf for a decade.

After the work’s first performance was over, he didn’t realize how the audience was applauding, and so singer Caroline Unger turned him around so he could see.  

Which composer and pianist were kept from marrying by the pianist’s father?

Robert Schumann and Clara Wieck!

Clara Wieck was born in 1819 and her music teacher father was insistent on molding her into a great musician.

Between his strict teaching regimen, his daughter’s astonishing inborn talent, and a little luck, Clara became one of the greatest pianists in Europe.

Another older piano student named Robert Schumann was rooming with the Wiecks. To Wieck’s horror, Robert and Clara fell in love. Robert proposed when she was eighteen, and she accepted.

Robert and Clara actually went to court to bypass Wieck. The court battle was bruising, but they were married in September 1840, the day before Clara’s 21st birthday.

Their love affair has since become one of the best-known love stories in the history of classical music.

Which composer and violinist did people think had made a deal with the devil?

Niccolò Paganini!

The violin has always had a bit of a demonic connotation (see the Devil’s Trill sonata!). This may have started because portable violin-like instruments were popular in dances during the Renaissance and had connections with physical love.

Violinist Niccolò Paganini was born in Italy in 1782, and he was so good at playing the instrument that audiences struggled to believe his talent had a natural explanation.

His appearance contributed to the myth. He was pale and vampiric, and looked like a cadaver.

He was also said to be a dangerous womanizer, which didn’t help his reputation!  

Which composer almost carried out a mass shooting – but didn’t because he was a composer?

Hector Berlioz!

Berlioz was a promising young composer when he became involved with pianist Marie Moke, sometimes known as Camille Moke. They became engaged when she was nineteen.

Berlioz traveled to Italy to compose. While there, he got news that she’d broken off the engagement and married an heir to a major piano making business by the name Camille Pleyel. (Yep: two Camilles in one marriage!)

Berlioz was so infuriated that he got on a carriage to go to Paris, carrying two pistols. He intended to shoot Moke, her mother, and then himself.

However, his rage eventually abated, and he decided not to go through with his violent plan, in part due to the music that the world would lose out on if he’d kill himself at the start of his career.

Beyond a doubt, it’s one of the most disturbing stories in classical music history.   

Which composer fell in love with Clara Schumann…but never married her?

Johannes Brahms!

Brahms was only twenty years old when he came to visit Robert and Clara Schumann in the autumn of 1853.

Both Robert and Clara were hugely impressed by the young man and took him under their wings. Robert even wrote a famous article in which he hailed Brahms as the savior of music.

In February 1854, Robert’s mental health issues came to a head, and he went to an asylum for treatment, leaving behind a distraught pregnant Clara and seven other young children.

Brahms tried to help Clara how he could, and, awkwardly, fell in love with her.

For a variety of reasons, even after Robert’s death, they never married. But they continued to love each other deeply and inspire one another creatively until Clara died in 1896.   

Which composer died after getting cholera from drinking unboiled water?

Pyotr Ilyich Tchaikovsky!

Tchaikovsky was feeling uncharacteristically optimistic after writing and premiering his famous sixth symphony – also known as the Pathetique – in October 1893.

However, his life was cut short just a few days later, when he went to a restaurant and drank a glass of unboiled water. There was a cholera outbreak in St. Petersburg at the time. Tchaikovsky came down with cholera and after an illness of just a few days’ duration, died.

Rumors have circulated that Tchaikovsky’s death was suicide or forced suicide. The New Grove Dictionary of Music reports, “We do not know how Tchaikovsky died. We may never find out.”  

Which composer and pianist had to get hypnotherapy to cure his writer’s block?

Sergei Rachmaninoff!

In 1897 composer Sergei Rachmaninoff suffered a humiliating premiere of his first symphony. The conductor may have been drunk, and the critics panned the work.

For three years, he couldn’t compose a thing, and he sank into a deep depression. After months of this, his aunt suggested that he seek help from a mental health professional, which he did.

He began working with a doctor named Nikolai Dahl, seeing him daily for four months in early 1900. He was composing again by the summer.

His next big work is perhaps his most famous – his second piano concerto. He dedicated the work to Dahl in appreciation.   

Which composer once claimed he only ate white food?

Erik Satie!

Satie wrote in his book, the amusingly titled Memoirs of an Amnesiac:

My only nourishment consists of food that is white: eggs, sugar, grated bones, the fat of dead animals, veal, salt, coconuts, chicken cooked in white water, fruit-mould, rice, turnips, camphorated sausages, pastry, cheese (white varieties), cotton salad, and certain kinds of fish (without their skin). I boil my wine and drink it cold mixed with the juice of the Fuchsia. I am a hearty eater, but never speak while eating, for fear of strangling.

This portion of the memoir is somewhat satirical, but it’s unclear exactly how much he was exaggerating.   

Which composer left his first wife, who later shot herself?

Claude Debussy!

Debussy met and married his first wife, Lilly Texier, in 1899.

Within four years, Debussy had grown bored of her. She wasn’t a sparkling intellect, and he felt she was too dull. She also never gave birth to a child, which disappointed Debussy.

Debussy’s solution to his marital troubles was to have an affair with a glamorous married singer named Emma Bardac.

The day before their fifth wedding anniversary, Lilly shot herself at the Place de la Concorde. She didn’t die, but the dramatic gesture didn’t save their marriage.

Debussy would eventually divorce Lilly and marry Bardac  .

Which composer never married and had a houseful of Siamese cats?

Maurice Ravel!

The perpetually single composer lived in a magical house called Belvedere outside Paris. Instead of a wife or lover or children, he filled Belvedere with various mechanical trinkets, Siamese cats, and music.

In his opera L’enfant et les sortilèges Ravel wrote an aria called Duo miaulé, or Meowed Duet. This work was clearly inspired by his cats.   

Which American composer died of a brain tumor in his late thirties?

George Gershwin!

In the mid-1930s, at the height of his creative powers, Gershwin began complaining about headaches, stomach aches, and other symptoms.

In 1937, while soloing with the Los Angeles Philharmonic, he had a brief seizure, followed by an olfactory hallucination of burning rubber.

He began deteriorating mentally, rubbing chocolate on his body and trying to shove a man out of a car. Doctors labeled him a hysteric.

However, when he went to the hospital for the last time, it was clear to doctors something was physically wrong. Gershwin was diagnosed with a brain tumor and died on the operating table   .

Conclusion

Classical music trivia is full of facts about generations of musicians and performers. We hope you enjoyed these twenty, and that they’re a good jumping off point to learn more!

George Enescu

  

The Greatest Musician You May Not Know

In her Grove Music Online article on George Enescu (1881-1955), Valentina Sandu-Dediu hails her compatriot as “Romania’s greatest composer, the leading figure in Romanian musical life in the first half of the 20th century, and one of the best-known violinists of his generation.” (Sandu-Dediu, GMO, 2015)

Yet, despite his high status within Romanian musical culture, Enescu remains relatively unknown to the wider international public today. His works are far less frequently performed, and they have really never entered the standard Western canon.

George Enescu, 1930

George Enescu, 1930

Sandu-Dediu’s scholarly assessment, however, is confirmed by a number of high-profile musicians. Pablo Casals described Enescu as “the greatest musical phenomenon since Mozart, and one of the greatest geniuses of modern music.” (Dickerson, Musicweb-International, 2014)

And Yehudi Menuhin, Enescu’s most famous student, said about his teacher, “he will remain for me the absoluteness through which I judge others… Enescu gave me the light that has guided my entire existence.” (Muzeul National “George Enescu”) Such testimonies clearly suggest Enescu’s capacity to shape the artistic worldview of an entire generation of musicians.

To commemorate the passing of George Enescu on 4 May 1955, let us take a closer look at his extraordinary legacy as a performer, teacher, and composer.  

The Making of a Genius

Young George Enescu

Young George Enescu

George Enescu was born on 19 August 1881 in the village of Liveni, Romania. His father, Costache Enescu was an estate manager, and his mother was Maria Enescu (née Cosmovici), the daughter of an Orthodox priest. Enescu’s ancestors in a direct line were all musical and primarily active as church musicians.

George was the eighth child born into a marriage where all previous siblings had died in infancy. His musical genius was discovered early, as he was able to reproduce with absolute fidelity all the melodies he heard. Auditory memory would eventually become one of the defining foundations of his interpretive and compositional approach.

He started to play the violin, taught by a neighbour, at the age of four, and he almost immediately started to compose. As he recalls, “And I began to compose, almost unconsciously…I knew nothing, I had heard practically nothing…yet from my childhood my one idea was to be a composer.” (Enescu, His Life in Pictures)

In 1888, George played for the Romanian opera composer Eduard Caudella, who advised Costache to take his son to Vienna to study. As such, Enescu became the youngest student ever admitted to the Vienna Conservatory on 5 October 1888.   

Among Masters and Legends

George Enescu

George Enescu

His teachers included Joseph Hellmesberger Jr. and Sr., Robert Fuchs, and Ernst Ludwig. The director Joseph Hellmesberger Sr. took young George under his wing, and he introduced him to his hero Johannes Brahms.

Between 1888 and 1894, and as the leader of the first violins in the student orchestra, Enescu played Brahms for Brahms. Greatly enthralled by the music of Brahms, Enescu also got to know the music of Wagner, performed at the Hofoper under Hans Richter.

After three years of study, Enescu graduated with honours at the age of 12, but decided to remain in Vienna for an additional year to further his studies of composition under Fuchs.

Recitals in Vienna featured works by Brahms, Sarasate, and Mendelssohn, and Hellmesberger suggested that George might benefit from spending some time in Paris.

Enescu arrived in Paris in 1895 to continue his studies at the Paris Conservatoire. He studied composition under Massenet and Fauré, and counterpoint under André Gédalge. Fellow students and friends at the Conservatoire included RavelSchmitt, Koechlin, Casella, Cortot, and Thibaud.  

Juvenilia and Early Mastery

Enescu’s main interest was in composition, and on 6 February 1898, at the age of 16, he presented his Op. 1, the Poème Roumain. The work was given in Bucharest two months later, with Enescu conducting, and the composer was quickly hailed as a figure of national importance.

By the time Enescu had reached the age of sixteen, he had composed at least fifty works.

Suggestions of immaturity and youthful doodling, however, are completely out of place when speaking of Enescu. By 1895, if not before, he was already a thorough master of the art of composition.

We know that Enescu composed many youthful study works, including a substantial number of symphonic essays. It is hardly surprising that Massenet described Enescu’s first symphony in D minor as a very remarkable work with an extraordinary instinct for development.

None of Enescu’s works produced before 1897 seems to have been written with publication in mind, and indeed nearly all of them are still unpublished. Thankfully, Enescu preserved the manuscripts of most of them, and they are now in the Enescu Museum in Bucharest.   

Search for Artistic Identity

George Enescu with Yehudi Menuhin

George Enescu with Yehudi Menuhin

George Enescu graduated in 1899 with the Grand Prix du Conservatoire, yet his professional and creative paths were still undecided. In his student works from Vienna and early Paris, we find the heavy influence of Schumann and Brahms.

His love for Wagner and his contact with French music made Enescu’s compositional style more clearly defined. As he explained in his Memoirs, “With my Second Sonata for Violin and Piano and with my String Octet, I felt myself evolving rapidly; I was becoming myself.” (Constantinescu, George Enescu, 1981)

The prospects of a career as a composer in Paris were not encouraging, and the same was certainly true of Romania. As such, Enescu led a divided existence between France and Romania, with his energies divided between performance and composition.

As a pianist and violinist, he made Paris his main base, forming a trio with Casella and Louis Fournier in 1902 and the Enescu Quartet in 1904. He toured several European countries as a violinist and conductor.   

Between Composition and Service

Enescu primarily composed during the summer months in the Romanian countryside, and he became an active figure in the musical life of that country. As Noel Malcolm writes, “Enjoying the special patronage of the royal family, he founded the Enescu Prize for Romanian composers in 1912… He formed a symphony orchestra in 1917 and, in 1921, created the first national opera company in Romania.” (Malcolm, GMO, 2001)

The composition of his opera Oedipe took a number of years, interrupted by regular visits to the United States as a violinist. He also had the opportunity to conduct and was even considered a replacement for Toscanini at the New York Philharmonic.

Enescu never contemplated a career as a pedagogue. However, a young Yehudi Menuhin convinced him to accept him as a student from 1927 onward. In due course, Ferras, Gitlis, Grumiaux, and Haendel were greatly influenced by his teaching, and he eventually accepted an appointment at the Mannes School of Music in 1948.

In terms of composition, Enescu freely switched between a variety of styles. Ambitious and sweeping Romantic works are interspersed with neoclassical or neobaroque compositions.     

Folk Influences and Compositional Technique

Current assessments of Enescu’s musical development place great emphasis on the elements of Romanian folk music, which appear in his works at an early stage. Most prominently, we find his two Romanian Rhapsodies of 1901.

Their popularity notwithstanding, Enescu bitterly resented the way they had dominated and narrowed his reputation as a composer. As he remarked in 1924, the only thing a composer could do with an existing piece of folk music was to rhapsodise it, with repetition and juxtaposition.

All protestations aside, Enescu did draw on the flexible and ornamented style of traditional folk melodies in his works. Instead of quoting folk tunes directly, he primarily absorbed their character.

Of particular influence is the “doina,” a traditional Romanian song form marked by melancholy with a flexible line in which melody and ornamentation merge into one. Melodies, superimposed on one another, represented the vital principle of his music.

Malcolm writes, “In his mature works, however, Enescu made increasing use of the less mechanically contrapuntal, more organic technique of heterophony—a form of loose melodic superimposition which was also rooted in Romanian folk music.” (Malcolm, GMO, 2001)   

Exile and Farewell

George Enescu

George Enescu (© Muzeul Național George Enescu)

During World War II, Enescu stayed in Bucharest and lived in the Cantacuzino Palace, now the George Enescu museum, as he had married the aristocratic Princess Maruca Cantacuzino, née Rosetti-Tescanu. Enescu produced several important recordings of his own works with his godson, Dinu Lipatti.

After the Communist takeover, the couple went into exile in Paris in 1947. Enescu was suffering from heart trouble, curvature of the spine, and a hearing problem, which affected intonation. He briefly resumed his career as a violinist and made several important recordings.

Enescu suffered a severe stroke in July 1954 that left him partially paralysed, and he died on 4 May 1955. He was interred in Père Lachaise Cemetery in Paris.

A Life in Service to Music

George Enescu was a musical phenomenon, and he left a profound personal impression on nearly everyone he encountered. He had an extraordinary memory and apparently knew every note in Wagner’s Ring and the complete works of Bach by heart.

As a performer, and avoiding all forms of showmanship, his violin tone was modelled after the human voice, and he had a deep humility towards the music of other composers.

Enescu regarded his own works with great modesty, “and his career as a composer suffered from his dignified but damaging reluctance to engage in any form of self-promotion.” (Malcolm, GMO, 2001)

George Enescu was perhaps the most versatile and most comprehensively gifted musician of his time. It is no accident that Yehudi Menuhin described him as the greatest musician he had ever experienced.

George Enescu was brilliant in everything he touched, excelling as composer, violinist, pianist, conductor, teacher, and musical thinker, all in the service of music itself. His legacy endures in his works and also in the artistic ideal he transmitted to those who followed him.

Saturday, May 2, 2026

10 of the Best Piano Etudes by Women Composers

  

While names like ChopinLiszt, and Debussy tend to dominate discussions of the genre, women composers across the past 250 years have contributed some of the most challenging and expressive etudes ever written.

From Hélène de Montgeroult’s revolutionary harmonic language to Grażyna Bacewicz’s electrifying mid-century modernism, these etudes reveal a vibrant pedagogical tradition that can totally reshape our understanding of piano history.

Today, we’re looking at ten of the best piano etudes by women composers, spanning from the late eighteenth century to the twentieth.

Hélène de Montgeroult (1764–1836)  

Hélène de Montgeroult was a French aristocrat, pianist, and innovative composer whose life reads like a novel.

She survived the French Revolution – as one urban legend has it, by improvising variations on “La Marseillaise” to save herself from the guillotine – and went on to become the first female professor of piano at the Paris Conservatoire in 1795.

Hélène de Montgeroult

Hélène de Montgeroult

Montgeroult composed an extensive body of piano music, including a whopping 114 piano études published within her comprehensive piano method, Cours complet (1816).

These études were composed between 1788 and 1812 and are considered her magnum opus.

Montgeroult’s music was decades ahead of its time; in fact, she has been called “the missing link between Mozart and Chopin.” She was only eight years younger than Mozart, but her harmonic language and lyrical style clearly anticipate Mendelssohn, Schumann, and Chopin.

Marie Bigot (1786–1820)   

Marie Bigot de Morogues was a French pianist-composer who was admired by the likes of Haydn and Beethoven.

In fact, Bigot impressed Beethoven so greatly with her pianism (she was the first to sight-read his Appassionata Sonata for him) that he gave her the manuscript as a gift. She was one of the first pianists to play it and a fierce champion of Beethoven’s works in general.

Marie Bigot

Marie Bigot

She later became a well-respected teacher in Paris, giving piano lessons to both Fanny and Felix Mendelssohn in 1816.

Bigot composed a handful of works, among which her Suite d’études (a set of six piano etudes) stands out.

Published in Paris after her departure from Vienna, this set solidified her reputation as a talented composer.

Contemporary accounts note that she had written more music than she ever published, but the etudes were the music she chose to share with the world.

Louise Farrenc (1804–1875)   

Louise Farrenc was a French composer, virtuoso pianist, and professor who achieved considerable renown in her lifetime.

She was the only woman appointed a full professor at the Paris Conservatoire in the nineteenth century, and she tirelessly championed both contemporary and early music.

Louise Farrenc

Louise Farrenc

Farrenc’s own compositions include three symphonies and a huge amount of chamber music, but for pianists, her Etudes hold special significance.

She composed a widely praised set of 30 Études, Op. 26, that systematically covers all major and minor keys, as well as a later set of 25 easier etudes, Op. 50, for intermediate students.

The etudes in Farrenc’s Op. 26 were composed between 1835 and 1838. They belong firmly in the tradition of the great nineteenth-century piano etudes.

They were admired by critics, including Robert Schumann, and were even adopted into the Paris Conservatoire’s curriculum.

For comparison, Chopin’s etudes were written between 1829 and 1839.

We wrote about Farrenc’s groundbreaking career, and how she fought for equal pay for equal work.

Kate Loder (1825–1904)

Kate Loder

Kate Loder


Kate Loder (later Lady Thompson) was an English pianist and composer.

A child prodigy from a prominent musical family, she studied at the Royal Academy of Music in London and became the Academy’s first female Professor of Harmony at the age of eighteen.

Unfortunately, Loder’s performing career was cut short after her marriage to famous surgeon Henry Thompson.

At the time, it was considered unseemly for the wife of a prominent gentleman to appear on the stage, so she retired from performing. However, she continued to teach and compose.

Her Two Books of Twelve Studies for piano are particularly noteworthy. While writing her etudes, she enthusiastically embraced the Romantic era idea of turning technical challenges into appealing music.

Laura Netzel (1839–1927)

Laura Netzel

Laura Netzel


Laura Netzel was a Finnish-Swedish composer (born in Finland but raised in Stockholm) who, like many Nordic composers of her time, went abroad to study.

She traveled to Paris and studied composition with organist Charles-Marie Widor.

Her output was prolific, spanning vocal works, chamber music, and orchestral pieces.

Relevant here are her Deux Etudes de Concert, Op. 52, published in 1895.

The first is subtitled “La Fileuse”, or “The Spinner.” It features a rippling accompaniment suggestive of a spinning wheel’s constant motion. Above it, a gentle, singing melody unfolds.

It was likely inspired by other spinning-wheel-inspired pieces popular in Romantic piano literature at the time. Netzel, however, puts her own spin – no pun intended – on the genre.

Agathe Backer Grøndahl (1847–1907)   Play

Agathe Backer Grøndahl was a Norwegian pianist-composer and one of the leading musical figures in Norway in the late nineteenth century.

A student of Franz Liszt and Hans von Bülow, Backer Grøndahl enjoyed a stellar career as a concert pianist and earned acclaim for her compositions.

Agathe Backer Grøndahl

Agathe Backer Grøndahl

She wrote numerous piano pieces, songs, and orchestral works, often infusing them with Norwegian romanticism, much like her friend and colleague Edvard Grieg.

Among her works for piano are the 6 Concert Etudes, Op. 11, published in 1881.

These aren’t easy etudes for up-and-coming players; they’re thrilling virtuoso works intended for advanced pianists, and perfect for a concert setting.

Teresa Carreño (1853–1917)

Teresa Carreño

Teresa Carreño


Teresa Carreño was a Venezuelan-born piano virtuoso and composer. She was one of the most famous pianists of the late nineteenth century, male or female.

Dubbed the “Valkyrie of the Piano”, she enjoyed a dazzling performing career. As a child prodigy, she played for President Lincoln at the age of ten. A few years later, she played for Liszt, who was deeply impressed by her.

She would be a fixture on concert stages for decades to come and wouldn’t let marriage or motherhood stop her. (In fact, she married four husbands.)

In the middle of her hectic career and personal life, she found time to compose a number of piano works, mostly salon pieces and virtuosic showpieces.

One of them was her Caprice-Etude No. 1, Op. 4. It is unknown exactly what date this Caprice-Etude was written, but she would have been very young. Her Op. 5 is dated 1863, when she was ten, so, remarkably, this work likely dates from that time, too.

Cécile Chaminade (1857–1944)  Play

Cécile Chaminade was one of the most successful female composers of the late nineteenth and early twentieth centuries.

A French composer-pianist, she was both prolific and popular: she wrote nearly 200 piano pieces, plus songs, chamber music, and a ballet.

Her music was embraced by a massive female audience. In fact, “Chaminade Clubs” dedicated to performing her music sprang up across America during her lifetime.

Cécile Chaminade

Cécile Chaminade

Though her output has often been dismissed by (male) critics as mere “salon music”, many of Chaminade’s works demonstrate genuine craft and deep thoughtfulness.

Among her best works are her Etudes de Concert, Op. 35, a set of six concert études composed around 1886.

The most famous of the set is “Automne” (“Autumn”), Op. 35 No. 2. This miniature masterpiece is certainly not a work by a second-rate composer.

Mana-Zucca (1885–1981)

Mana-Zucca

Mana-Zucca


Mana-Zucca was an American composer, pianist, singer, and even actress.

Born as Gussie Zuckermann in New York to Polish immigrants, she adopted the stage name “Mana-Zucca” (a playful rearrangement of the letters in her surname) for her musical career.

Mana-Zucca debuted at Carnegie Hall at the age of eleven. She went on to study with renowned teachers, including Ferruccio Busoi and Leopold Godowsky.

Although largely forgotten today, she was quite famous in her youth. At one point, she was nicknamed the “Chaminade of America.”

Over the course of her career, Mana-Zucca composed over a thousand works, including two operas, a ballet, orchestral and chamber pieces, and hundreds of piano solos.

One extraordinary project of hers was My Musical Calendar, a collection of 366 piano pieces (one for each day of the year), illustrating her endless inventiveness and pedagogical bent.

Read about Mana-Zucca’s many talents.

Grażyna Bacewicz (1909–1969)   

Grażyna Bacewicz was a Polish violinist. She was also one of the most talented composers of the twentieth century, male or female.

Although her violin works and string quartets are perhaps best-known today, Bacewicz was also a fine pianist, and she wrote a significant amount of music for the instrument.

In 1956, she composed her 10 Etudes for piano (sometimes called 10 Concert Etudes), which were first performed in 1957 in Kraków by the pianist Regina Smendzianka.

Grażyna Bacewicz

Grażyna Bacewicz

These études date from Bacewicz’s postwar period, when she was blending neo-classical clarity, Polish folk tradition, and a modernist harmonic language.

Here she follows in her countryman Chopin’s footsteps: every etude isolates technical or rhythmic challenges, but never at the expense of overall musical integrity or inventiveness.

Conclusion

Exploring piano études by women composers not only enriches our understanding of the repertoire but also fills major historical gaps and introduces pianists to fresh, exciting works that deserve to stand alongside the canonical études of Chopin, Liszt, and Debussy.

So whether you’re listening, studying, or preparing your next recital, remember these etudes. They contain some of the most compelling piano writing you’ve probably never heard!

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Friday, April 24, 2026

Khatia Buniatishvili: “Beyond the Eccentricity of Planet Pogorelich”

  

Khatia Buniatishvili

Khatia Buniatishvili

One of the most visually glittering pianists today, Khatia Buniatishvili steadily appears on television sets, front covers of glossy magazines and every imaginable social media outlet. She certainly attracts attention; on the cover of a recent Schubert release, Khatia takes on the physical persona of the famous corpse Ophelia, prompting a critic to sheepishly ask, “artistic or airheaded?” Unquestionably, she is one of the most highly sought after pianists, and readily appears in the world’s most prestigious concert halls. And it is her appearance in outfits with often plunging necklines that have earned her various nicknames, including the “Betty Boop” of the piano, and “the pop star of the classical music world.” For some, Khatia is a phenomenon “titillating the classical public… shaking and disrupting this fragile world.” To others, she is a “Lady Gaga or Beyoncé craving attention, with fashion as the best kind of projection.” To me, this simply begs the question of what makes Khatia Buniatishvili tick.  

Khatia Buniatishvili Plays Schubert, released in 2019

Khatia Buniatishvili Plays Schubert, released in 2019

Khatia Buniatishvili was born in the town of Batoumi near the Black Sea on 21 June 1987. At that time, Georgia was still under Soviet authority, and life was anything but placid. When Georgia declared independence in 1991, every day became a struggle for survival and for keeping poverty at bay. “Early on, I got a taste of what real discipline is,” she explains, “and of how a human being can develop their imaginary world amidst a schedule that’s busy and difficult both mentally and physically.” Khatia was introduced to music by her mother, who apparently also instilled her with a sense of fashion by “sewing together magnificent dresses for her two daughters from bits of cloth she had managed to scavenge.” Khatia had discovered the piano at the age of three, and her mother would leave a new musical score on the piano each day. By age 6, Khatia first appeared publically with the Tbilisi Chamber Orchestra in the Concerto Op. 44 by Isaac Berkovich, a composer closely associated with the Soviet regime. That highly successful debut resulted in the invitation to tour internationally with the orchestra.   

Khatia Buniatishvili in BerlinIn Tbilisi, Khatia took lessons with the renowned Georgian Chopin interpreter Tengiz Amirejibi, and it was during a local piano competition that she met Oleg Maisenberg. He convinced her to come to Vienna and study with him. She arrived in Vienna full of enthusiasm, and became an eager student. “I wanted to absorb everything I could, and the University had virtually unlimited knowledge on offer.” She still has only praise for Oleg Maisenberg, whom she describes as a magnificent musician of unlimited imagination and depth. “Every lesson was a work of art and remains deeply engraved in my memory.” Khatia’s rise to fame began in earnest in 2008, when she was awarded the 3rd prize and the Public prize by the prestigious Arthur Rubinstein International Piano Master competition in Tel-Aviv. In the same year she was invited to perform at Carnegie Hall, and she issued her first album in 2011 with works by Franz Liszt. Concurrently with her rapid rise to fame, Khatia is determined to follow her own path. And once she sits down at the piano, everything goes, including attitude, emotion, and outfit.   

Khatia BuniatishviliKhatia Buniatishvili is adamant about the freedom of her performances, and she defends her right to “re-appropriate each work and to perform them without necessarily respecting the tradition or model imposed by her predecessors.” The human being stands squarely in the center of her art, as “we can subtly reveal our emotions all the while staying perfectly intimate with our instrument.” Emotion is her guiding and motivating force, and she is in love with complexity and paradoxes, not complications and oppositions. Her music is fundamentally bound to political activism, as she is involved in numerous social rights project, including among others the DLDwomen13 Conference in Munich, or the United Nation’s 70th Anniversary Humanitarian Concert benefiting Syrian refuges. Khatia Buniatishvili refuses all invitations to perform in Russia as long as president Putin is in power. As to Khatia’s musical performances, they have either been called “hauntingly original” or “beyond the eccentricity of Planet Pogorelich.” This fundamental disagreement depends on how commentators interpret the communicative aspects of music, and that surely includes attire and all other performative aspects. We would love to hear your opinion, please let us know.

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