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Handel’s Music for the Royal Fireworks and Water Music, two of his greatest orchestral achievements, have become synonymous with mid-18th-century England and with the pomp, ceremony and tradition of British royalty. But is this music necessarily synonymous with Handel? Where did his eclecticism and experimentalism come from? How and why did he conquer the emerging genre of the English oratorio and what were the circumstances that allowed him to become one of opera’s greatest composers?

The unresolved and ambiguous details of Robert Schumann’s psychological decline and death have tended to dominate his biography. Yet in his time Schumann was lauded as a protean Romantic literary genius whose writings, as a music critic, poet, novelist and dramatist, eclipsed his musical creativity. How did Schumann reconcile these elements? Does his music suggest he suffered from bipolar disorder? How did his pianist wife, Clara, influence his compositions?

The Bayreuth Festspielhaus stands today as a testament to Richard Wagner’s ambition and self-importance—a theatre designed and built solely for the performances of his immersive ‘music dramas’. From the influence of Beethoven to the transcendental properties of his greatest music, Wagner’s work became a cornerstone of European musical culture, but what kind of journey took him towards this remarkable achievement?