Quite a number of radio broadcasts have survived, some of the most interesting being a chamber music series broadcast by the BBC in where Schnabel was joined by violinist Joseph Szigeti and cellist Pierre Fournier in trios by Brahms, Schubert and Mendelssohn.
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Cite this Email this Add to favourites Print this page. One felt it was a work that might logically follow Mahler, and before that, Wagner, for in it are traces of the heritage of both. The performance…was one of the triumphs of the season. Unusual and shifting instrumental doublings create timbral metamorphoses usually associated with much later composers.
Schnabel reveled the organic nature of his composition in a description of Rhapsody for Orchestra : "I tried…to produce out of purely musical imagination, without any extra-musical associations, a lively being, an individual with inter-dependent organs, developing, contrasting, conflicting, blending, yet always remaining coherent. The early, gracious P iano Concerto recalls Brahms. His Dance Suite is in a late romantic style, one movement without barlines. Ernst Krenek calls the Piano Sonata "a work of most impressive score, proud feeling, vast imagination, and pianistic brilliance. Here, Schnabel exercises his penchant for detailed comments on interpretation, which pianists know from his edition of the Beethoven sonatas.
The final movement of the Sonata, Schnabel's only contribution to the form, has the heading "Fiery, bold, without stopping, but also without haste and excitement, entirely healthy, non legato, martellato, bon articulato, not harsh. More and more, I see that the contact with music has to be pure love affair. Schnabel's achievements as a composer, however, have been hidden until now.