Claudius Tanski | © Elsa Okazaki

A.o. Univ.-Prof.

Claudius Tanski

A.o. Univ.-Prof. für KlavierDepartment Tasteninstrumente

Claudius Tanski (*1958 in Essen) studierte an der Folkwang-Hochschule in Essen bei Georg Stieglitz, an der Universität Mozarteum bei Hans Leygraf, in Wien bei Heinz Medjimorec und später in London bei Alfred Brendel, der sein wichtigster Lehrer war. Tanski erhielt eine Reihe von Preisen und Auszeichnungen und konzertierte als Solist und Kammermusiker bei großen internationalen Festivals. 

Konzertreisen führten ihn durch Europa, die USA, Südamerika, Indien, Iran, Japan und Südostasien (u.a. Berlin - Konzerthaus, München - Herkulessaal, Leipzig - Gewandhaus, Hamburg - Musikhalle, Salzburg - Großes Festspielhaus, Prag - Rudolfinum, Buenos Aires - Teatro Colon, Tokio - Suntory Hall). Er konzertierte als Kammermusiker u.a. mit Tabea Zimmermann, Frank Peter Zimmermann, Boris Pergamenschikow, Clemens Hagen und Benjamin Schmid, als Liedbegleiter mit Rita Streich und Eva Lind.

Klavierkonzerte u.a. unter Yuri Termirkanov, David Stern, Martin Sieghart, Istvan Denes, Heinz Wallberg und George Hanson.

Für die Firma MDG hat Claudius Tanski mehr als 20 CDs aufgenommen, die weltweit hervorragende Kritiken und Auszeichnungen erhielten, darunter "Editor's Choice" der Zeitschrift "Gramophone", fünfmal den "Preis der deutschen Schallplattenkritik" sowie einen "Echo-Klassik"-Preis in der Sparte Kammermusik (1997) und zweimal "Pasticcio"-Preis des ORFim Jänner 2006 und Juni 2008.

Claudius Tanski ist Professor für Klavier an der Universität Mozarteum Salzburg (Habilitation 2003).

Jury-Mitglied Seregno (Pozzoli Wettbewerb) 2001 und 2007, Pinerolo 2008, Taranto 2009, Genua 2010, Massarosa 2016 und 2018.

Veröffentlichungen & Rezensionen

"A wonderful disc of the like that features rarely on disc and even less frequently in the concert hall performed with astonishing vitality by all concerned.
Hexameron, the main work on this disc, is the product of Liszt, Chopin, Thalberg, Pixis, Herz and Czerny who were challenged by Liszt to write a series of variations (a la Diabelli) in preparation for a virtuoso competition of the above pianists (it never happened for better or worse). Lizst himself composed the introduction, theme (the March of the Puritans from Bellini's I Puritani), second variation, finale and ritornellos to the variations of Pixis (3rd variation), Czerny (5th) & Chopin (6th); Thalberg composed the first, Herz the fourth. The remainder of the disc is filled with music from those supplying the variations and a piece inspired by Hexameron from one of the pianists, Leon Buche.
The actual performance of Hexameron is something to behold. There is no small amount virtuosity on display both of the quiet kind (in the Chopin) and in varying displays of technical prowess elsewhere. The recording here was inspired by Werner Dabringhaus attending a concert in Berlin in which these performers divided the pianistic spoils between them; they do here as well to great effect. The introduction is performed by Claudius Tanski & Johann Blanchard; Leon Buche the theme; Carlos Goicoechea variation 1; Caroline Sorieux var. 2; Leon Buche var. 3 & Kanako Yoshikane the ritornello, var. 4; Goicoechea var. 5, Buche rit.; Sorieux var. 6 & rit; Buche, Blanchard & Goicoechea the finale. In Berlin they had the advantage of 2 pianos; here they had the challenge of maintaining the flow of the music with only one instrument - Werner Dabringhaus was so captivated he immediately wanted to record it as a concert and so meticuclous plans were needed to keep it "true and believable". It most certainly is & all produce thrilling playing & as Dabringhaus asks "And is it not amazing to hear the different characters of the players just like one would imagine the different characters of the composers?" It is & it evokes the meeting that never was. After this, each of Tanski's proteges is given some welcome space to perform solo works. Caroline Sorieux performs Chopin's Mazurka Op. 17 No. 4 & Nocturne Op. 55 No. 1 which comes as welcome simplicity against the torrent of notes that many of the other pieces include! Kanako Yoshikane performs Czerny's variations on Schubert's Sehnsucht waltz; a trifle musically but neither over- or under-played here. Carlos Goicoechea tackles Thalberg's Nocturne and for all his advocacy, it is not hard to see why Thalberg's reputation largely remains as a performer today when compared to Chopins output in the same genre. Claudius Tanski returns to perform Herz's free transcription form Rossini's William Tell (not the overture) & a Pixis Waltz; as with Thalberg, Herz & Pixis are remembered as performers first, composers second with reason. Johann Blanchard plays the most substantial fare outside Hexameron, Liszt's Funeraillles - a performance that is full of passion & gripping from beginning to end. To complete the disc, Leon Buche gives a quasi-improvisatory response to Hexameron which is startlingly impressionistic after all the high Romanticism previously heard. The sound is wonderful, the piano is placed perfectly so that one never hears any of the action, just wonderfully rounded tone set in a perfectly sized, believable acoustic. The piano itself is a 1901 Steinway and has lost some of the characteristic brilliance that is associated with the manufacturers resonance without any degree of clarity. It sounds like a blend between a Bosendorfer & new Steinway and is utterly sympathetic in character to the music."

- John Broggio and

  • Nonet for Cor anglais, Clarinet, Bassoon, two Violins, Viola, Cello, Double Bass and Piano (1850)
  • Grande Sérénade Concertante for piano, clarinet, French horn and cello, op. 126

"MDG are a most adventurous record label and are to be congratulated for making available many pieces from lesser-known composers. This release of two rare and attractive chamber scores from the Vienna-born composer Carl Czerny is one such example. The release is marked volume 1, so more such recordings from Czerny seem likely. The MDG website carries the following information "The series debuts with the world premiere recordings of two important works by Carl Czerny, pupil of Beethoven and teacher of Liszt. Joining the acclaimed Consortium Classicum ensemble is the young pianist Claudius Tanski, whose MDG recordings have won critical acclaim." From the recording date of 1994 I"m not sure where the recordings have been for eleven years. However there is now another recording of the Grande Sérénade Concertante, Op. 126 available in the catalogue, on the Meridian label CDE 84310. Czerny"s name, even during his own lifetime, became known to the public more as a pedagogue than as a composer worthy of serious consideration. Little has changed up to the present day as his reputation is associated with dreadful memories of piano lessons even though his value and considerable legacy to piano teaching cannot be overestimated.
A child prodigy on the piano, Czerny as a nine year old, gave his first public performance in Vienna playing Mozart"s Piano Concerto in C minor, K.491. The extremely well connected Czerny met the acquaintance of Hummel, Chopin, Beethoven and Clementi as a young man. In later years he became highly regarded by composers of the stature of Liszt and Beethoven who both played and encouraged him in his compositional endeavours. Beethoven influence was immeasurable. He chose Czerny as his pupil to give the first Vienna performance of the Piano Concerto No. 5 in 1812. Czerny also gave weekly concerts at his home that he devoted exclusively to Beethoven"s piano music. Many of these events were attended by Beethoven himself.
The prolific Czerny composed an astonishing thousand works in almost every sacred and secular genre. In particular his numerous technical studies and exercises, continue to be widely used by piano students around the world. Sadly a very large number of his non-scholastic works have gone out of print or were never published at all and have been largely forgotten by history. Perhaps Czerny"s over-production diluted his creative powers; consequently a host of his lesser quality works have led the high calibre ones into undeserved obscurity.
Housed in the Vienna City Library the Nonet for piano, winds and strings, from 1850 is a work of classical form and expression and is really a concerto for piano and small orchestra. The booklet incorrectly describes the instrumentation as cor anglais clarinet, bassoon, horn, two violins, viola, cello, double bass and piano, which is ten instruments, but there is no horn part. Aside from the predominant piano the instrumentation is related to Schubert"s Octet D.803 and Beethoven"s Septet op. 20 with the exception that Czerny employs a cor anglais instead of the oboe and horn. The piano is almost constantly in action throughout the work and the part is lengthier than that of many a typical piano concerto yet blends in reasonably well with the other eight instruments.
The opening movement allegro maestoso is lengthy at nearly thirteen minutes and is a mixture of concerto and sonata. It is hard to focus on anything other than Claudius Tanski"s extrovert and exciting piano part. The calming and gentle second movement andante is a sort of varied song with a dramatic middle section in which Consortium Classicum provide a lightness of touch with appropriate sensitivity. Harmonically the movement gravitates towards the Romantic style and it is good to hear instruments other than the piano participating so productively to which Consortium Classicum respond admirably. The players of Consortium Classicum are intense and full-blooded in the dramatic and inventive scherzo with its contrastingly lyrical central trio section. The piano intones a song reminiscent of Schubert"s Trout Quintet and some Viennese elements can be detected, especially in the extended passage for violin. The finale is preceded by an unusual introduction-andante that features the wind-piano and string-piano dialogue. In the allegretto vivace section there is a mixture of the rondo and sonata forms. This ensemble have much to offer in the closing movement that contains considerable technical challenges for the piano in which Claudius Tanski proves more than equal to the task.
The Grande Sérénade Concertante, op. 126 contains the colourful combination of piano, clarinet, horn and cello. This extraordinary and exciting published score was composed in 1827 and the unusual choice of instrumentation demonstrates that Czerny was going his own independent way to obtain original tone effects.
The piano part predominates but is integrated more than in the Nonet. It never swamps the other instruments that are provided with a reasonable share of material. Czerny"s writing ensures that each of the four players is faced with technical demands of the highest order. Czerny wrote about his ability to play by heart and with complete accuracy everything that Beethoven and many other composers wrote for the piano. In view of this it is not surprising that the Grande Sérénade Concertante contains several reminiscences of Beethoven especially of the Fourth and Fifth Piano Concertos. There is also a reference to Schubert"s Variations for flute and piano op.160.
The demands of the twelve minute long set of theme and variations for each instrument is handled with intelligence and fluency. The players display a subtle control in the peaceful and delightful adagio that provides a short yet welcome respite from what has gone before. The polished playing is beautifully balanced in the allegro vivace con fuoco closing movement. Throughout the score it is difficult not to acknowledge Tanski"s superbly stylish and radiant playing. He makes an outstanding contribution. This is a well recorded release from MDG Gold that will delight chamber music lovers."

- Michael Cookson,

  • Sonate
  • Romance Oubliée
  • Isolde`s Liebestod
  • Lugubre Gondola 2
  • Mosonyis Grabgeleit
  • Variationen über Weinen, Klagen, Sorgen, Zagen

"This is an exciting recording of a much-recorded work (a recent Schwann catalog listed 35 entries for it). The young (41) artist plays it with a big style and a wide spectrum of dynamics in an imperious and expansive manner, with rich musicality and declamatory feeling. I have not heard anyone play Liszt`s B-minor Sonata with a more impressive technique, and that is saying a mouthful! The tone is often powerful and clangorous, without ever becoming unpleasant. A part of the eloquence of Tanski`s playing is attributable to his acute sense of timing and pacing. The instrument is not in perfect tune, but that is not especially bothersome, as Tanski`s performance is so gripping. Is this a historic piano? I am tempted to guess that it is, though nothing is said about it in the booklet. I place this recording of the B-minor Sonata at the top of the list, along with Zimerman`s and Ranki`s."
- American Record Guide 3-4/01

"È possibile ascoltare con intensa interesse un´ennesima edizione discografica della Sonata di Liszt? È possibile. L´interprete di questa trecentesima (o giù di li) incisione -casa tedesca tra le più interessanti - è il pianista Claudius Tanski, che i lettori ricorderanno interprete anche di un Concerto di Draeseke e di brani cameristici di Henselt da noi recensiti. Draeseke fu alunno di Liszt, anche se il Concerto, se ben ricordo, viveva in aura più mendelssohniana, Biedermeier, che non lisztiana.E alunni di Liszt, o comunque gravitanti nella sua orbita, erano Reubke e Smetana, autori che fanno parte della discografia di questo interprete, che per la stessa casa ha registrato varie composizioni solistiche e cameristice del repertorio tedesco: Kalkbrenner, Czerny, Nicolai, Moscheles,Henselt, Pfitzner, Brahms, Reger e Busoni. Non si può dire che il suo background non gli permetta di dominare il linguaggio lisztiano. Difatti, il suo disco dedicato a questo autore è quanto di più logico, interessante e stimolante abbiamo ascoltato finora, illustrato da splendide note (" La Sonata in si minore in un contesto di morte e trasfigurazione") di Axel Schröter. Si parte dalla Sonata, illustrazione secondo molti studiosi- Liszt non si pronunziò - del mito di Faust, per approdare alle Variazioni ´Weinen, Klagen,Sorgen, Zagen´terminate da Liszt dopo la morte della figlia Blandine, attraverso alcuni pezzi del periodo tardo legati più o meno all´idea della morte. Tanski è stato per anni alunno di Alfred Brendel, e si sente. Lo direi addirittura alunno di Claudio Arrau, dopo l´ascolto della Sonata. Al domono della tecnica pianistica, del richiesto virtuosismo in questo pezzo, si aggiunge una logica strutturale, una naturalezza del discorso, una semplicità della dizione che rendono questo lavoro chiarificato al massimo. Emerge cosi il senso musicale di ogni tema, di ogni passo. Gli elementi di estemporaneità, che prevalgono nell´esecuzione di un interprete di scuola russa (Horowitz, Richter, Berman, etc.), sono ridotti al minimo, e la lettura nel complesso ha qualcosa di classico, direi di beethoveniano, senza perdere gli elementi basilari di una lettura lisztiana. Anche gli altri pezzi del disco, per quanto poggiati su di una concezione timbrica fascinosa e ben dominata, vivono in un clima meditativo ed austero pieno di risonanze interiori e di suggestioni poetiche. Vanno segnalate almeno le due rarità del disco, la `Romance oubliée` e `Mosonyis Grabgeleit`, dai sette `Ritratti ungheresi`, brani di rarissimo ascolto. Commento tecnico: Il pianoforte suona molto naturalmente e con guista dinamica"
- Compact Disc Classics , Italia , Riccardo Risaliti, Nov.2001

  • Trio op. 24 pour Piano, Violon et Violoncelle A minor / la mineur / a-Moll
  • Deux Nocturnes op. 6
  • Duo op. 14 pour Piano et Cor B minor / si mineur / h-Moll
  • Variations de Concert op. 1 pour le Piano sur le motif de l¿Opéra l¿Elisire d¿Amore de Donizetti "Io son ricco e tu sei bella"

Claudius Tanski, piano
Benjamin Schmid, violin (Track 1-4)
Clemens Hagen, violoncello (Track 1-4)
Vincent Lévesque, horn (Track 8)

"Powerfully committed performances"
- BBC Music Magazine

"Highly enjoyable release, a further addition to Tanski´s distinguished dicography"
- International Record Review

"Feine Interpretationen"
- Frankfurter Allgemeine Zeitung

"65 Minuten hinreißend melodischer, kantabler Musik hören wir auf dieser herausragenden CD. Schwungvolles,klangprächtiges und stets von neuem angefeuertes Spiel läßt Henselts Musik sehr lebendig werden."
- izzicato

"This is a very curious recording of virtually unknown music by one of the 19th century´s great keyboardists. Harold C. Schonberg, in "The Great Pianists" treats Henselt (1814-1889) and Alkan (1813-1888) together. Obviously, neither made records, but both composed. Alkan is probably best known for two sets of fiendishly difficult Études, but Hamelin has recorded a pair of Concertinos for Hyperion, and that CD contains a set of Variations for piano and orchestra by Henselt and his famous Piano Concerto. Older collectors may recall Rachmaninov´s 1923 recording of Henselt´s "Si oiseau j´ètais". That´s basically it, as far as Henselt is concerned, so the present MDG CD is particularly welcome, for it fills a void in the catalogs. Nowhere does MDG claim that these are recorded premieres, but I know of no other compilation containing these pieces. Schonberg´s comments about Henselt are worth reading, for they reveal a fascinating if tortured personality. His music is much more in the mainstream, however. This is a lovely Piano Trio, skillfully wrought and beautifully played. The Duo for Horn and Piano is likewise a solid, sturdey work. The pieces for solo piano are impressive; if Henselt was able to play these things with ease, he must have been formidable, indeed. The theme of the Variations de concert is from the Dulcamara-Adina duet " Io son rico, e tu sei bella", which occurs at the beginning of act II of Donizetti´s "L´elisir d´amore". It is the CD´s most substantial solo piece, the Berceuse and the two Nocturnes are far lighter works, but they, too, are nicely constructed and pleasing to hear. Taken all together, it is easy to understand why Schumann and Liszt praised Henselt´s music. As is its custom, MDG has provided remarkably good sound and a natural ambience for these performances. The pianist has previously recorded for MDG and other companies. This CD is to a large extend his show, and he is dazzling throughout. Viennese violinist Schmid studied for several years at the Curtis Institute of Music. Cellist Hagen has recorded the Brahms Double Concerto with Kremer and Harnoncourt. New York born hornist Lévesque has pursued his carrer largely in Europe. Each makes outstanding contributions to this release. Notes by Lucian Schiwietz and Stefan Hofmann are a gold mine of informations."
- Fanfare, USA April 2001 , John W. Lambert

  • Fantaisie avec Variations brillantes sur Norma op. 25 pour Pianoforte avec Accompagnement du Orchestre
  • Symphony D major / ré majeur / D-Dur

Claudius Tanski
Südwestfälische Philharmonie
David Stern, conductor

"The short-lived Nicolai is better known for his operatic effort The Merry Wives of Windsor so it is good that MDG are celebrating the less obvious. Of course neglect is sometimes justified. This turns out not to be the case here. Joyous Beethovenian bravura from same bloodgroup as the Beethoven"s Choral Fantasy (much under-rated) and the Third and Fourth piano concertos. There is also restraint and tenderness aplenty amidst all the coruscating notes. The dashing piano part is pressed forward and breasted by MDG regular Claudius Tanski - a most convincing performance. The work is restless with excitement and rich in detail. The Symphony is a lanky tense romantic effort with currents cross-cutting from Schumann (Symphonies 3 and 4) and Beethoven (Symphonies 5 and 7). The Adagio (II) is a steady reflective affair of Mozartian gravity and charm. Schumann is a definite presence in the scherzo (III) and here the nice sense of gradation and contrast evident throughout this production communicates strongly - a joy to hear. The blessed precision and control of the finale, chasseur horns, Coronation splendour and general sense of classic celebration are notable.
Two extremely rewarding and out-of-the-mainstream works done with style in every department and good notes to match." 

- Rob Barnett

  • Bach / Busoni: Goldberg Variationen
  • Liszt: Petrarca-Sonette, Resignazione
  • Busoni:Recueillement

"Bachs Goldberg-Variationen basieren auf einer "Aria", auf einem vokal gedachten Stück Musik also. Liszts Petrarca-Sonette sind zwar Klavierwerke, doch sie tragen ebenfalls den Gestus des Kantablen, Vokalen und waren in ihrer Frühform als Lieder gedacht. Claudius Tanskis auf den ersten Blick unzusammenhängendes CD-Programm bietet unter der Thematik des Spannungsfeldes von Vokalem in pianistisch-instrumentaler Sicht einen roten Faden, dem man gerne folgt - zumal darüber gelagert ein zweites Gerüst erkennbar wird, das diese Aufnahme zu einer wirklich spannenden Sache macht: die Klavier-Spätromantik als Klanglabor, als musikalischer Experimentalbereich. Dieser kündigt sich schon in Busonis den Klavierklang und harmonische Sequenzgänge erprobendem, am Anfang wie ein Motto dastehenden "Recueillement" an, setzt sich über Liszts Petrarca-Deutungen fort und findet seinen Höhepunkt in Busonis Bearbeitung der "Goldberg-Variationen" - dem Hauptwerk der CD. Tanski gestaltet das Programm mit enormer Plastizität, ohne die virtuosen Anteile zu sehr hervorzuheben. Er lässt den Hörer an seiner suchenden Erkundungstour teilhaben, ordnet sie wie eine Klangreise an und verbindet sein Konzept mit einer ebenso stimmigen wie künstlerisch anspruchsvollen Darbietung."
- Oliver Buslau, Piano News 5-05

"L"habitude de reconstituer la musique ancienne telle qu"on suppose qu"elle fut entendue "à l"époque" est elle-même un fait historique récent. Pendant longtemps, en effet, le patrimoine a surtout été l"objet de reconstitution et d"appropriation, ce qui en disait autant sur le restaurateur que sur le créateur originel. De ce point de vue, le rapport entre Busoni et Bach est exemplaire. Si, dans un certain nombre des cas, comme le fameux choral "Nun komm, der Heiden Heiland", Busoni se contente de transcrire au plus près l"original pour orgue, ailleurs, il recrée l"oeuvre à sa façon. C"est ainsi qu"en 1914, il élabore une version de concert des Variations Goldberg où son intervention prend plusieurs aspects. D"abord, il supprime carrément neuf des trente variations, peut-être dans le louable souci de rendre compatible avec la durée d"un concert une oeuvre qui, à l"époque, était à peu près inconnue et jamais jouée, peut-être aussi pour renforcer la logique interne du cycle, qui ne dure plus que 37 minutes. Ensuite, il procède à des modifications d"octave dans les parties conçues pour les deux claviers du clavecin, de manière à éviter des chevauchements de voix. Il récrit certains ornements, en supprime d"autres (notamment dans l"Aria) renforce la basse, compose çà et là des voix médianes supplémentaires. Le reste du programme est consacré à Liszt, avec les Sonnets de Pétrarque, où Liszt transcrivit lui-même ses propres mélodies et Resignazione, brève pièce en forme de choral de la fin de sa vie, où se révèle dans sa nudité franciscaine toute le rigueur de son art, ainsi qu"à Busoni, à travers sa première Elégie, où Tanski réalise un magnifique travail de recherches de sonorités rares. Le pianiste allemand poursuit ici un travail qui le passionne et qu"il rend intéressant. On lui devait déjà de beaux enregistrements des oeuvres tardives de Liszt comme des transcriptions de Bach par Busoni, ainsi que d"oeuvres de Busoni lui-même. Le style est ample et volontiers grandiose, très romantique (mais pour Bach, on ne s"en offusquera pas puisque c"est précisément l"effet recherché!). On le sent soucieux de rendre lisible la structure polyphonique des textes qu"il défend, mais également de profiter de toutes les ressources du piano pour orchestrer (ou tout au moins registrer) ce qu"il joue, notamment dans les Variations Goldberg. C"est là une perspective busonienne, le compositeur de la Fantasia contrapunttistica ayant toujours pensé que ce n"était pas une trahison que de faire profiter Bach de la technologie moderne et de deux cents ans de progrès musical. On pourra s "épouvanter de cette idée qui n"est plus la nôtre, mais la défendre comme le fait Claudius Tanski peut également permettre de relativiser notre propre regard sur la musique du passé."
- Jacques Bonnaure,


Felix Mendelssohn Bartholdy (1809-1847):

  • Auf den Flügeln des Gesanges (Heinrich Heine) (arr. for piano solo by Franz Liszt)
  • Variations sérieuses op. 54

Robert Schumann (1810-1856):

  • Fantasie op. 17
  • C major / ut majeur / C-Dur

Franz Liszt (1811-1886):

  • Die Loreley (Heinrich Heine) (arr. for piano solo by Franz Liszt)

Gustav Mahler (1860-1911):

  • Lieder eines fahrenden Gesellen (transcribed for piano by Claudius Tanski)
    - Wenn mein Schatz Hochzeit macht
    - Ging heut" morgen über"s Feld
    - Ich hab" ein glühend Messer
    - Die zwei blauen Augen

"Höchst erfreulich ist es, dass es Musiker gibt, die sich intelligente Konzeptionen für ihre Veröffentlichungen überlegen und diese dann auch noch höchst eloquent zu erläutern wissen. So im Falle der vorliegenden SACD-Produktion von Dabringhaus & Grimm: Als "symbiotisches Programm" bezeichnet der Pianist Claudius Tanski im Booklet die Werkauswahl, die er hier getroffen hat. Das übergeordnete Motto "Auf den Flügeln des Gesanges", Titel eines Liedes von Felix Mendelssohn Bartholdy, das zu Beginn der Platte in Franz Liszts klangvoller Bearbeitung ertönt, umreißt die romantische Vorstellung vom liedhaften poetischen Ausdruck der Musik und benennt zugleich auch den wesentlichen Aspekt, unter dem sich alle hier versammelten Kompositionen vereinen lassen. Dass die Werke auf ganz unterschiedliche Weise diesen Kontext zur Geltung bringen und ihm jeweils auch andere Facetten hinzufügen, macht die Stärke und Faszination der exzellenten und empfehlenswerten Produktion aus.
Da sind zunächst einmal die beiden einander so entgegen gesetzten Lisztschen Liedbearbeitungen: Jene von Mendelssohns Lied, die auf ideale Weise die Melodiestimme in das Gewebe der Begleitung integriert und zu einem filigranen Ganzen verschmilzt, was Tanski mit klangräumlich differenziertem Spiel im Eindruck von Nähe und Ferne vermittelt, dann aber auch jene von Liszts eigener "Loreley"-Vertonung, die in Gestalt einer dramatischen Szene die Atmosphäre des Nächtlich-Bedrohlichen zeichnet. Diesen miniaturhaften Stimmungsbildern stellt der Pianist zwei Hauptwerke romantischer Klavierkunst gegenüber: Zum einen hört man Mendelssohns "Variations sérieuses" op. 54 in einer dramatisch-zugespitzten Wiedergabe, die jegliche verharmlosende Glätte oder falsche Sentimentalität meidet und ¿ eingebunden in einen logisch auf die finale Variation ausgerichteten Zug ¿ gerade die Rauigkeit und die Brüche der Musik thematisiert. Zum anderen erklingt Robert Schumanns Fantasie C-Dur op. 17, gestaltet als komplexer poetischer Diskurs, der ganz von den vielfältig differenzierten Übergängen zwischen Deklamation und Gesang lebt, die Tanski ihr von Beginn an einschreibt und im mehrsätzigen Verlauf immer wieder abzuwandeln versteht. Den Abschluss der Produktion bildet eine von Tanski selbst gefertigte Klavierübertragung der "Lieder eines fahrenden Gesellen" von Gustav Mahler. So ungewöhnlich diese Wahl zunächst scheint, so logisch fügt sie sich in das Konzept der Produktion. Denn in musikalischer Hinsicht markiert Mahlers Liederzyklus sowohl einen mit dem Ausdruck des Schmerzes angereicherten Endpunkt der romantischen Welt- und Kunstauffassung, wie er auch ein spätes Beispiel für die Tradition des romantischen Gesangs ist. In seiner Bearbeitung verzichtet Tanski auf oberflächliche pianistischen Effekte und macht aus den Mahlerschen Partituren eine manchmal zarte, manchmal auch kraftvolle, immer aber erstaunlich farbige Klavierkunst, mit der er nahtlos an die Praxis der Lisztschen Liedbearbeitungen anknüpfen kann. Zugleich schlägt er damit aber auch einen Bogen zurück zu Mendelssohn, denn wie bei diesem handelt es sich bei Mahler um ein eindrucksvolles Beispiel für die ¿deutsch-jüdische Symbiose" innerhalb des Komponierens und damit für einen Aspekt, der dem Pianisten gleichfalls am Herzen liegt und seiner spannenden Spurensuche über ihren rein musikalischen Wert hinaus auch eine kulturhistorische Dimension verleiht."

- Stefan Drees,

"From the top, this is another multichannel 2+2+2 disc produced by MDG and to the point; the sound is clear and transparent providing well with well defined musical lines as executed by Claudius Tanski. The piano is a 1901 Steinway model D No. 100398; with a very fast action which seems to be very flexible, however the sound is not as powerful as one might expect from a modern grand such as a Fazioli F308, a Bösendorfer 290 or even a modern Steinway. The first selection by Mendelssohn: On Wings of Songs is a simple, unpretentious, unambitious, but lively piano arrangement by Liszt of the eponymous song, delicate and fresh¿a forever mesmerizing song. Tanski"s keyboard technique is superb; he plays for the music rather than for the audience and lets the music sing with a very delicate touch. For example in Mendelssohn"s Variations sérieuses, op. 54 in Track 2 beginning at 5:20 and in a subsequent passage beginning at 8:07 shows him as an accomplished pianist able to convincingly demonstrate that Mendelssohn did not write piano music only for the right hand as many have voiced here and there. Moreover, this right and left hand interplay effect can also be heard at the beginning of Track 4, and in Track 5 beginning at 2:03, with some marvelous delicate keyboard touch and judicious pedal work.
Tanski is able to make the sharps sharper and deep notes deeper; his keyboard technique allows for the left hand not only to produce the expected bass notes but to add as well wonderful syncopation to the right hand melodies with just the right amount to make the songs sing as they should. In general, there is a bit of a playful devil in Tanski with his almost improvisatory approach ¿ just my feeling ¿ which may be derived from his known ability for piano arranging and transcriptions. Tanski is full of energy and optimism in Schumann"s otherwise gloomy three part fantasy (Tracks 3-4-5) ¿ here it sparkles and sways ¿ he lulls us into a realm of rapt spirituality while with Mendelssohn and Mahler he takes us by the hand into poetry evoking luminous awakenings with songs that will soar high, so high that will touch the face of the Gods¿much like a prayer. Tanski"s own transcription of Mahler"s Lieder eines fahrenden Gesellen (Track 7 to 10) is a wonderful rendition of a crucial work which Mahler experts always have thought to have been conceived originally in 1896 for solo piano and low voice (baritone or mezzo) to reappear in its final full orchestral form in 1897; please take note of the particular marvelous poetic tone in Track 10 beginning at 3:10. I think Tanski had overtly much interest in Schumann and Mahler"s psychology and emotional catharsis but also showed a commitment to display extremes of dynamic range and the deadly accuracy of his keyboard technique. Altogether this disc reveals a pianist of great expressive genius who nonetheless allows the music to speak for itself making music that is always searching for mood and meter."

- John Nemaric,

"Mit Mendelssohn meldet sich auch der in Salzburg am Mozarteum lehrende Pianist Claudius Tanski nach einer längeren CD-Pause wieder zu Ton und Wort. Die "seriösen" Variationen op. 54, Liszts Transkription des Liedes "Auf Flügeln des Gesanges" vermochten diesem stets Ausschau haltenden Interpreten (Reubke, Busoni !) zu fließenden , energischen, wenn nötig leidenschaftlichen Erkundungen zu reizen. So ist es nicht überraschend, dass Tanskis Deutung der C-Dur Fantasie von Schumann eine wahrhaft packende, fast schon süchtig aufrührende Einspielung geworden ist."
- ÖMZ- Österr.Musik Zeitung Aug./Sept. 2008, Peter Cossé

"Leidenschaft hat Schumann für den ersten Satz seiner "Fantasie" gefordert. Hier wird diese Bitte mit hoher Erregung eingelöst!"
- ÖMZ Jahresauswahl , Nov./Dez. 2008 , Peter Cossé

  • Symphony No. 1 op. 12
  • Piano Concerto op. 36

Claudius Tanski, piano
Wuppertal Symphony Orchestra
George Hanson

"A contemporary of Brahms and Bruch, Dresden-born Felix Draeseke (1835-1913) is almost unknown outside his native Germany. In his youth he befriended and championed Wagner and Liszt. Matthias Schafers"s excellent notes discuss the young composer"s artistic struggle between the conservative and progressive musical philosophies of his time (the furious Brahms versus Wagner debate). Early on he attempted compositions in the Lisztian tone-poem style but felt unable to express himself fully in the "modern" genre. He eventually created an amalgam of the old and new, incorporating what he felt was a more modern language and structure into the traditional forms of the symphony and concerto.
Though prolific, Draeseke is not well represented in current catalogs. So we are indebted to MDG. Both the symphony, completed in 1872, and the piano concerto, composed in 1885-86 for a student of Henselt and Liszt, are well worth knowing. Both speak the rich harmonic language of their time and offer a unique fusion of simplicity, intimacy, and, yes, grandeur. The symphony shows the influence of early Wagner and Mendelssohn and Weber (II--with a hint of Schumann for good measure). The piano concerto is a virtuoso tour de force with two dashing and brilliant outer movements surrounding a central theme and variations rich in ideas and charm. There is much of the Richard Strauss (a composer Draeseke later condemned) of the Burleske in the outer movements. I"d think this to be the work of the young Strauss if I didn"t know otherwise.
The strong effect made by this music is certainly the result of the excellent readings. The American conductor George Hanson, who studied with Franco Ferrara and Seiji Ozawa and was a Bernstein assistant in Vienna, is currently Music Director of both the Tucson Symphony and the excellent Wuppertal Symphony (whose musical associations go back to Brahms, Bruch, and Joachim as well as Klemperer, Kleiber, and Richard Strauss). He offers strongly profiled readings of both works and is most fortunate in his soloist, the estimable Claudius Tanski (whose recent Busoni CD for this label so impressed me). He plays with tremendous panache and is simply ravishing in II, making a strong case for more frequent performances. MDG has supplied full and natural sonics."

- Record Guide Productions

"...Though the language is plainly that of a New German Romantic, it is surprisingly unsentimental [with]...a rather modern, muscular one interested in nineteenth-century music is going to let this disc go unexamined."
- International Record Review (3/00, pp.43-44)

  • Sonate für Violine und Klavier op. 27
  • Trio für Klavier, Violine und Violoncello op. 8

Claudius Tanski
Benjamin Schmid
Clemens Hagen

"Ein Misanthrop. Molière hat ihn nicht besser erfunden. Überall witterte er Verrat, am Deutschtum, an deutscher Kunst und Musik, vorzüglich an der seinen. Zu den Übeltätern gehörten wahlweise der völkerfeindliche Internationalismus, die Alljuden - die er sauber von seinen jüdischen Freunden unterschied -, die international-atonale Strömung oder die Jazz-Foxtrott-Flut, die der Amerikanismus anspülte. Der Komponist Hans Pfitzner war schwierig - freundlich gesprochen. Zielsicher vergraulte er Intendanten, Regisseure, Dirigenten, Kritiker, all jene also, die er für seine Musik so dringend brauchte. Selbst wohlwollende Freunde und Verehrer streckten die Waffen vor dem Querkopf, unter ihnen schließlich auch Bruno Walter, der "in seinem Wesen die seltsamste Mischung von wahrer Größe und Intoleranz" erblickte. Dabei ging es auch anders, gesellig, charmant - Alma Mahler war nicht die einzige Frau, die der äußerlich wenig ansehnliche Pfitzner schwer beeindruckte, vielleicht weil er ein Überzeugungstäter war. Mit seinen polemischen Schriften zerschlug er Berge von Porzellan. Bis heute liegen sie der Rezeption seiner Musik im Weg, ebenso wie die widersprüchliche Haltung in der Weimarer Republik und im "Dritten Reich". Doch der Musikbetrieb hat andere Komponisten, die den Nazis williger dienten, weniger geschnitten. Es liegt wohl schon an der Musik selbst, dass sie kaum gespielt wird - das Hauptwerk, die Oper Palestrina, einmal ausgenommen. Pfitzners Kammermusik kennt kein Mensch, Stücke wie die Violinsonate op. 27 oder das Klaviertrio op. 8, die der Geiger Benjamin Schmid, der Cellist Clemens Hagen und Claudius Tanski (Klavier) jetzt neu eingespielt haben (Dabringhaus und Grimm 312 0934). Die drei begreifen, worauf es ankommt: Mit schlanker Tongebung und zügigem musikalischem Fluss suchen sie nicht den "letzten Romantiker", als der Pfitzner galt, ohne es zu sein, auch wenn er vehement eine letztlich romantische Inspirationsästhetik vertrat. Das Trio, formal zerrissen, zwischen strömender Melodik und wütenden Zusammenbrüchen changierend, lässt ahnen, weshalb Pfitzner nach einer Aufführung in Berlin "fürchterlich vermöbelt", ja als "Führer der Sozialdemokratie in der Musik" beschimpft wurde. Und die Violinsonate spielen Tanski und Schmid, eines der echten Geigentalente der jüngeren Generation, mit hinreißendem Elan. Bruno Walter hörte bei Pfitzner Dinge, "die zum Schönsten gehören, was je geschrieben worden ist", vielleicht gerade, weil vieles seltsam spröde klingt und sich den sensualistischen Verführungen verweigert, die Richard Strauss, der erfolgreiche Zeitgenosse, so perfekt beherrschte."
- Oswald Beaujean, DIE ZEIT, Hamburg

"The Trio will take you on a wild tour of the emotional underworld, the Sonata will amaze you with its inventiveness, and both are beautifully played using an ideal piano."
- Gramophone October 2000 , Michael Oliver

"Hans Pfitzner, an ardent admirer of Schumann, didn´t, however, try to emulate his delicate and intimate tone in his own chamber music, adopting a far grander, more elevated manner.He arranged one of his string quartets (Op 36) as a symphony, and it´s easy to imagine the second and fourth mouvements of his Op 8 Trio in orchestral guise, too. Michael Oliver´s review gives a vivid description of this youthful tour de force and of the 1918 Violin Sonata that completes this new disc. Like him I enjoyed the warm sonority of the 1926 Blüthner, played with uninhibited virtuosity by Claudius Tanski. Lesser string players might have been overwhelmed by this sound, but Schmid and Hagen both produce a powerful yet unforced sound that easily rides the tempestuos piano waves. Schmid too, is able to produce an amazingly silky ´flautando´sound in some of the quiet passages. Overall , this is a really valuable issue-music of considerable stature, not otherwise available, in performances that can be enthusiastically recommended."
- Gramophone February 2001 "Second Opinion" Duncan Druce


Bach / Busoni :

  • Toccata in D minor / d-Moll BWV 565
  • Ich ruf zu Dir, Herr
  • Wachet auf, ruft uns die Stimme


  • Four Elegies
  • Sonatina seconda
  • Toccata

"The German pianist Claudius Tanski has the resources to play some of the most demanding music ever written for the piano. There is never a sense of strain or of a challenge not met. This is imaginative, full-looded pianism captured in superb sound..."
- Linkowski, ARG

Claudius Tanski proves a most persuasive Busoni interpreter, having the questing mind and sensivity this repertoire calls for, not to mention the abundant technical prowess. Artistically this is three star playing.
- Penguin Guide 2005/6

"Claudius Tanski signe pourtant une version d´une grande unité poétique."
- Diapason, Paris

"As an introduction to Busoni"s individual piano idiom you could not wish for better. The German pianist Claudius Tanski plays the hour-long program with ferocious conentration.Here is a serious minded musician of great ability, earnestly arguing his case, perfectly in tune with Busoni"s pianistic philosophy."
- Classic CD, London

  • Fantasy, Variations and Finale op. 46
  • Grand Septuor op. 88
  • Grand Sextuor op. 35

Consortium Classicum
Claudius Tanski, piano

"Musik höchster Brillanz ... eine reine Freude!"
- Fono Forum

"exzellent aufeinander eingespielt"
- Steroplay

"Eine Einspielung, die staunen macht, wie virtuos man diese Stücke spielen kann, die Appetit macht auf weitere Happen aus dieser Virtuosenküche."
- Neue Ruhr Zeitung

"It"s a refreshing piece, idiomatically written and with more than a few rewards for the careful listener. It"s also very beautifully played and recorded... highly recommended for chamber-music enthusiasts."
- Fanfare, USA

  • Septet for Piano, Oboe, Clarinet, Horn, Bassoon, Violoncello and Double Bass op. 132
  • Quintet for Piano, Clarinet, Horn, Violoncello and Double Bass op. 81

Claudius Tanski, piano
Consortium Classicum

"Sparkling revivals of two highly attractive forgotten chamber works featuring some stylish piano playing, a most artractive discovery, high spirits, exemplary execution and first -class recording gladden the heart"
- Classic CD, London

"Impressive in terms of both the performances and the recorded sound."
- Fanfare, USA

"Farbenreiches und mustergültiges Spiel. Ohne Zweifel ein gelungenes Plädoyer für diese geschmackvolle, elegante und jederzeit gefällige Musik"
- Fono Forum

  • Sonatas for clarinet and piano op. 120, No. 1 and 2
  • Vier ernste Gesänge op. 121 (arr. for piano by Max Reger)

Dieter Klöcker, clarinet
Claudius Tanski, piano

"Die beiden Klarinettensonaten in einer musterhaften Einspielung. Dieter Klöcker spielt so, daß der Altersstil von Brahms mit all seiner Melancholie und auch mit der Gelöstheit der Es- Dur Sonate unmittelbar wirkt. Zum Ereignis wird das Ganze noch, wenn man das Duo betrachtet : Klöcker und Tanski spielen praktisch ein großes Instrument. Nun, Klöcker kennt man in der Szene großer Instrumaentalisten. Der Name Claudius Tanski aber war mir neu. Ist er schon als Begleiter eine Entdeckung, so zeigt er in den "Ernsten Gesängen" erst recht, wozu er fähig ist. Zuerst war ich skeptisch: ausgerechnet diese Lieder ohne Gesang. Und Reger-Bearbeitungen stimmen mich auch nicht immer froh. Aber ich bin bekehrt.Tanski singt und spielt auf seinem Instrument, daß man die Lieder mühelos "verstehen" kann. Also: wenn bei einem Liederabend der Sänger indisponiert ist, sofort Tanski mit Brahms holen. Ein gutes Publikum wird nichts vermissen."
- tibia Feb. 1998, Albrecht Gürsching

"A clear first choice... the recorded sound is luscious ... essential listening."
- SOUNDSCAPES - Australia´s Fine Music Magazine, "Editor´s Choice"

  • Piano Quartet op. 133 A minor / a-Moll
  • 3 Duos (im alten Stil) op. 131b

Mannheimer Streichquartett
Claudius Tanski, piano

"Une merveilleuse interprétation, exécution exemplaire."
- Répertoire, Paris

"Sans concurrence"
- Diapason, Paris

"One of the finest Reger chamber music disc around, with sumptuous sound to match."
- Classic CD, London

"Und die vorzüglichen Streicher des Mannheimer Streichquartetts wissen wie Claudius Tanski die ganze Leichtigkeit dieser für Reger so ungewöhnlichen Musik auszuspielen."
- Fono Forum

  • Piano quartet op. 113 D minor / d-Moll
  • Serenade G major / G-Dur op. 141a

Mannheimer Streichquartett
Claudius Tanski, piano

"Authentique chef-d´oeuvre"
- Répertoire

"Such is the passion and conviction of the playing that any vestiges of musical indigestion are triumphantly swept aside."

"Excellent pianist, the performance is a gem.The recorded sound is of demonstration quality."
- Classic CD, London

  • Trio for Piano, Violin and Horn E flat major / Es-Dur op. 40
  • Trio for Piano, Clarinet and Violoncello A minor / a-Moll op. 114

Dieter Klöcker, clarinet
Sebastian Weigle, horn
Wolf Dieter Streicher, violin
Christoph Henkel, violoncello
Claudius Tanski, piano

"Zwei herrliche Aufnahmen, die im dicht besetzten Feld der Konkurrenten einen Spitzenrang einnehmen."
- Stereoplay

"Admirable precise and well-balanced playing. Recommended."
- Fanfare, USA

"Exuberante momenten."
- Luister, NL



  • Kreisleriana op. 16
  • Widmung op. 25, 1 (arr. by Franz Liszt)


  • Fantasy in C D 760 "Wanderer-Fantasie"
  • Der Wanderer D 489 (arr. by Franz Liszt)

"Claudius Tanski first became notice during the late 1980s with an impressive account of the Reubke Sonata. In this Schumann-Schubert recital he gives thoroughly musical and thoughtful accounts both of the "Kreisleriana" and of the "Wanderer Fantasy". No one who invests in this disc will be disappointed."
- Penguin Guide 2005/6

"I was impressed with Tanski"s originality and basic musicality.Also impressive is the sheer beauty of the recorded sound, which is sensous, full bodied, and very natural."
- Fanfare, USA

"An der monumentalen "Wanderer-Fantasie" haben sich alle Großen gerieben, und bis heute kommt man kaum vorbei an Schuberts pianistischem Wetterleuchten. Drum ist es um so eindrucksvoller, mit welcher überlegenen Selbstverständlichkeit Claudius Tanski eine durch klangliche Beherrschung und kluge Gesamtdisposition in jeder Hinsicht überragende Deutung vorlegt. Und auch seine visionäre "Kreisleriana" braucht sich nicht hinter den Sichten der Konkurrenz zu verstecken. Großartig!"
- Leipziger Volkszeitung 9.12.99

"Robert Schumanns Kreisleriana, eine Apotheose auf das Leben des Kapellmeisters Johannes Kreisler, und dem Roman E.T.A. Hoffmanns nachempfunden, zwingt den Pianisten zum ständigen Wechsel zwischen höchster Tastenakrobatik und sensibler lyrischer Gestaltung. Dabei wahrt er einen höchst diffizilen inneren Zusammenhang, der sich nicht nur einfach auf motivische Arbeit stützt, sondern auch eine Vielzahl von rhytmischen und gefühlsmäßigen Zusammenhängen umfaßt. Ganz anders dagegen Franz Schuberts Wamderer-Fantasie : Hier bilden die motivischen Beziehungen, abgeleitet aus dem Lied "Der Wanderer", Rückgrat und Kraftquelle der Musik. Claudius Tanski hat das alles nicht nur verstanden, er bringt es dem Hörer auch absolut zwingend nah. Damit braucht er die Konkurrenz von Kollegen mit größeren Namen nicht zu scheuen, und er stellt viele hochgejubelte Sternschnuppen in den Schatten."
- Musikwoche Nr. 43/99

"These are admirable performances, as one might expect from a student of Brendel, whose pupils are famously few and whose standarts are exacting the highest degree. Claudius Tanski´s playing here is stamped from the start with unforced authority and a thoroughly commanding but unobstrusive technique. The sound is always full and well rounded, even at its quietes, the pedalling is sensitive and often subtle and even in the most taxing parts of the Wanderer Fantasy there´s no sense of his dexterity or power being at anything near full stretch.A further virtue is his masterly handling of Schumann´s many mood-changes, with no sacrifice of characterisation along the way."
- Classic CD, London April 2000 Jeremy Siepmann

  • Sonata for Piano B flat minor / b-Moll
  • Sonata for Organ (94th Psalm) C minor / c-Moll

Claudius Tanski, piano
Martin Sander, organ

"Die Hauptwerke von Liszts genialstem Schüler in klanglich wie interpretatorisch brillanten Produktionen." - Süddeutsche Zeitung, München

"Der geniale Wurf des so früh verstorbenen Liszt-Schülers in Claudius Tanskis farbenreicher und dramaturgisch glänzend disponierten Wiedergabe ...."
- Frankfurter Allgemeine Zeitung

"If Claudius Tanski brought his sonorous instrument to Carnegie Hall and played it like this, he - and Reubke - would be overnight sensations."
- Fanfare, USA

  • Sketches (4) for Piano, B 102/T 68 no 2/Op. 5
    no 1, Scherzo-Polka in F sharp major
  • Polkas de salon (3) for Piano, B 94/T 62/Op. 7
    no 1 in F sharp major
  • no 2 in F minor
  • no 3 in E major
  • Czech Dances (14) for Piano, T 112
    no 2, Polka in A minor
  • no 9, Little Onion
  • no 13, Neighbors Dance
  • no 12, The Astride Dance
  • Rêves (6) for Piano, T 112
    no 1, Le bonheur étient
  • no 2, La consolation
  • no 3, En Bohême
  • no 4, Au salon
  • no 5, Près du château
  • no 6, La fête des paysans bohémiens
  • Andante in E flat major, B 97/T 65
  • Am Seegestade in G sharp minor, B 119/T 86/Op. 17

Audio Examples from:

"... glänzende Virtuosität"
- Fono Forum

"Claudius Tanski has a giant technique... MDG"s warm, true recording of Tanski"s mighty Steinway D is of audiophile quality... This is a beautiful, even spectacular disc."
- Fanfare, USA

"Recorded most naturally in pleasantly reverberant but intimate acoustics, Claudius Tanski shows ideal credentials for these dance pieces. ... The results are enchanting."
- Classic CD, London - Cover Disc

"Der in Salzburg ansässige Pianist Claudius Tanski, mit seinen Busoni-Reubke- oder Draeseke Entdeckungen als Musiker von hellwachem Intellekt, literarischer Neugier und virtuoser Gelenkigkeit hinreichend positiv ausgewiesen, arbeitet nun an einem neuen aufreizenden Projekt : der so gut wie unbekannten Solo- Klaviermusik Smetanas, der "in der Technik Liszt, im Komponieren Mozart gleichen" wollte. Oberflächlich befriedigen Polkas oder böhmische Tänze den Nationalstolz- aber selbst hier, in gängigen Formen, weitet sich schon das Feld zu markanten Charakter-Stücken in wechselnden Stimmungen und Beleuchtungen, mit eigener, gewissermaßen pianistisch-symphonischer Note. Die große Geste im Kleinen: So spielt das Tanski mit wirbelndem Elan, in nuanciertem "Gesang" oder auftrumpfender, aber nie hohler Gebärde, formgenau und inhaltsreich. Er nimmt forschend jede Phrase ernst und stiftet klaren Zusammenhang, bleibt dabei aber stets "spielerisch" und frei für den eigenen Ton auf dem Steinway von 1901. Und vollends die sechs "Reves" steigert er als Ton- Gedichte in vorausweisender Deutlichkeit zu reichster Bildhaftigkeit. Vorbildlich : der eigene kenntnisreiche Booklet- Kommentar mit Notenbeispielen."
- Salzburger Nachrichten , 31. Mai 1997, Karl Harb


Franz Liszt (1811-1886):

  • Sonata for Piano in B minor, S 178

Felix Draeseke (1835-1913):

  • Sonata for Piano in C sharp minor, Op. 6 "quasi fantasia"