Gerhard Frommel rejected pre-war Nationalism and Schoenberg’s dodecaphony, finding his voice in individuality and tradition. His piano sonatas are rooted in Romanticism and allied to the expressive plasticity of Stravinsky and Hindemith, articulated with vitality and tenderness in No.1, sparseness and clownish grotesquerie in No.2, and the sensual impressionism of No.3.

Tatjana Blome won first prize at the Steinway Competition at the age of twelve and gave her first full-length piano recital a year later. She studied with Josef-Matthias Blome, Renate Kretschmar-Fischer, Heidrun Holtmann, Aribert Reimann and Gerhard Oppitz, and as a student also devoted her time to German literature and theology. She made her début in the Berlin Philharmonic concert hall in 1995 with Johannes Brahms’s First Piano Concerto.

“…Tatjana Blome, who unleashed a virtuoso firework of musical emotions with her instrument and who imitated a complete orchestra… was just a marvel” – Westdeutsche Allgemeine Zeitung