Felix Draeseke’s early affiliation with the music of Liszt and Wagner permeated his own compositions of the period, not least his Sonata quasi fantasia in C sharp minor, a work of sumptuous Wagnerian candour as well as balletic lightness. It also marked a significant turning-point from a revolutionary style to something more conservative. As Liszt wrote to him, ‘Since Schumann’s F sharp minor sonata, I know of no more such significant work of this genre.’ The programme also includes a virtuoso Grande Fantaisie, two characterful Fantasiestücke and Chopin-like gestures in the Valse-Nocturne.
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