Piano - Luis Magalhães

Why Cramer’s Piano Quintets Deserve to Be Played Again – Preparing Piano Quintet No. 3, or Why Good Manners Ruined His Career

January 20, 2026 by luismagalhaes.com

Johann Baptist Cramer had a serious problem. He was excellent at everything he did.

He was admired by Beethoven. He was one of the most respected pianists in Europe. He wrote music that fits the hands, makes musical sense, and does not collapse under pressure. Naturally, history responded by quietly ignoring most of it.

Johann Baptist Cramer is remembered today almost exclusively for piano studies. This is like remembering Ferrari solely for the spare parts catalogue. Useful, yes. But it misses the point.

Cramer’s Piano Quintets suffer from a fatal flaw in modern concert life. They behave. They do not scream. They do not posture. They do not attempt to impersonate an orchestra while the strings cling on for dear life. They assume that everyone involved knows what they are doing. This assumption alone has kept them out of the repertoire.

Piano Quintet No. 3 is a masterclass in proportion. The piano part is busy, articulate, and beautifully written, but it is never allowed to become the centre of the universe. This is not a concerto with string decorations. This is chamber music. The piano is expected to listen. To blend. To occasionally shut up. An outrageous demand.

On a modern concert grand, this becomes immediately uncomfortable. The instrument is large, powerful, and keen to help whether you asked for it or not. Cramer did not write for this. He wrote for clarity. Which means the pianist must spend a considerable amount of time doing less. Less pedal. Less sound. Less self-expression. More judgement.

This is harder than it sounds. The piece has no patience for interpretive freelancing. It rewards precision and punishes optimism. And yet, when done properly, the music is deeply satisfying. It has wit without punchlines. Charm without flattery. Confidence without noise. An approach that, if applied more broadly, would solve many problems.

For audiences, I am curious about the effect it might have. I wonder if they will listen, follow lines or hear conversation rather than competition.

So why is Cramer rarely played. Because he sits in the wrong place historically. Too late to be purely Classical. Too early to indulge in Romantic excess. Too well balanced to fit the modern appetite for extremes. He does not fit a narrative. He fits music.

Cramer’s Piano Quintet No. 3 will be performed on 15 February at Conway Hall, London, in a programme that unintentionally proves the point. Beethoven’s Piano Quartet Op. 16 opens with elegance and a sense of humour sharp enough to survive two centuries. Cramer follows, reminding everyone that good writing does not need to announce itself. Schubert’s “Trout” Quintet closes the evening by cheerfully ignoring all restraint and getting away with it.

Programme
6.30pm
Beethoven. Piano Quartet in E flat Op. 16
Cramer. Piano Quintet No. 3 in B flat Op. 79
Schubert. Quintet in A major “Trout” D 667

Performers
Martyn Jackson. violin
Robert Smissen. viola
Ursula Smith. cello
Leon Bosch. double bass
Luis Magalhães. piano

Cramer does not need rescuing. He needs performers willing to play what is written, listeners willing to pay attention, and a general reduction in unnecessary drama.

Which, admittedly, makes him a difficult sell. Come join us! Tickets here.

Is Classical Music Dying? No, But It’s Changing

February 14, 2025 by luismagalhaes.com

Audience Engagement, change, Classical Music, Digital Marketing for Musicians, Music Evolution, Music Industry, Piano

If you’ve spent any time in classical music circles, you’ve probably heard the question: “Is classical music dying?” It’s an ongoing debate, fueled by shrinking audiences, struggling orchestras, and the overwhelming dominance of popular music in mainstream culture. But I don’t believe classical music is dying—it’s evolving.

The way we engage with classical music today looks different than it did a few decades ago. While some traditional structures may be struggling, new opportunities are emerging. And as artists, we need to embrace change rather than resist it.

Audiences Are Changing

For years, the classical music industry has been obsessed with the idea of an aging audience. We’ve all heard the statistics about the graying heads in concert halls. But the reality is that young people do love classical music—they’re just experiencing it in different ways.

Streaming platforms like Spotify, Apple Music, and YouTube have made classical music more accessible than ever. A listener might discover Beethoven’s late sonatas through a playlist, or stumble upon a Rachmaninoff concerto via an algorithm that paired it with a film soundtrack. The barrier to entry is lower than ever, and this presents a massive opportunity.

The challenge is no longer getting people to hear classical music—it’s getting them to engage with it on a deeper level.

The Role of Social Media and Digital Branding

For musicians, embracing digital platforms isn’t optional anymore. Whether it’s through Instagram, YouTube, TikTok, or even podcasts, artists are finding new ways to connect with audiences beyond the concert hall.

This shift is something I’ve been working on myself, especially with the help of Catalyst Music, who I’m currently working with for PR and marketing. Their approach recognizes that musicians today need more than just talent—they need strategy. Visibility matters. Storytelling matters. Finding ways to bridge the gap between tradition and innovation is key.

A well-crafted online presence doesn’t replace live performances, but it enhances them. It creates a community, keeps people engaged between concerts, and, ultimately, makes classical music feel more personal and alive.

Reimagining Performance Spaces

One of the most exciting developments in recent years is the way classical music is breaking out of traditional venues. While grand concert halls are still vital, we’re seeing more performances in unconventional spaces:

Chamber concerts in art galleries and museums
Intimate house concerts streamed live
Open-air performances in public spaces
Classical music collaborations with non-classical artists

These settings often attract audiences who wouldn’t normally step into a concert hall. They offer a more relaxed, immersive experience that feels accessible without compromising artistic integrity.

Classical Music as a Living Art Form

For classical music to thrive, we have to remember that it is not just a museum piece. Every composer we revere today—from Bach to Beethoven to Brahms—was, in their time, a contemporary artist pushing boundaries. We need to foster that same spirit today, encouraging new compositions, fresh interpretations, and bold programming that speaks to modern audiences.

It’s also worth noting that classical music has always gone through periods of reinvention. There were times when Baroque music fell out of favor, only to be revived centuries later. Romanticism gave way to modernism, which in turn evolved into new experimental forms. Change is not the enemy—it’s the reason classical music has survived for so long.

Final Thoughts

Classical music is not dying. It’s shifting, adapting, and finding new ways to remain relevant. The real challenge isn’t the lack of interest—it’s whether we, as musicians, are willing to meet audiences where they are.

With the right approach—one that blends tradition with innovation, artistry with strategy—we can ensure that classical music not only survives but thrives.

If you’re an artist looking to navigate this new landscape, I highly recommend checking out Catalyst Music. Their expertise in PR and marketing is helping musicians like me bridge the gap between the classical world and today’s digital-first audience.

Let’s keep the music alive

A Classical Music Podcast… But Unhinged

February 8, 2025 by luismagalhaes.com

Classical Music, Music and Humor, Piano, Podcast

Classical music is serious business. The composers, the history, the interpretations—all of it demands reverence and intellectual rigor. But let’s be honest: it’s also full of absurdity, drama, and moments so chaotic they deserve their own reality show.

That’s where my new podcast comes in.

What Is This Madness?

This is not your typical classical music podcast. There are plenty of those—deep dives into historical context, thoughtful discussions on performance practice, and interviews with esteemed musicians who speak in beautifully structured paragraphs. Mine, however, is a different beast.

Imagine:

Tchaikovsky, but badly played.
Theatrical levels of post-concert trauma.
Fake sponsors offering questionable remedies for extreme emotional recovery.
Pianists blaming the instrument for their mistakes (because it’s never our fault).

This podcast takes the world of classical music and pushes it into full chaos mode. Expect satire, behind-the-scenes confessions, and humor that only slightly hides the existential crises of being a musician.

Why a Podcast?

I love classical music. I’ve spent my life playing, teaching, and championing it. But I also love humor, and I think we need more of it in this world. Too often, classical music is presented as something untouchable, as if we’re all supposed to sit in silence and nod wisely. But the truth is, musicians joke, struggle, and occasionally cry over particularly cruel fingerings. This podcast is about embracing all of that—the beauty, the chaos, and the wonderfully unhinged moments that make this art form so human.

What to Expect

Each episode will be a wild mix of:

Ridiculous storytelling—because every musician has at least one concert horror story.
Musical analysis—but with a twist. (Ever wondered how Rachmaninoff’s Second Sonata would sound as a sponsor jingle? Wonder no more.)
Special guests (when I can convince them to join the madness).
Segments that make classical music feel a little less sacred and a lot more fun.

Join the Chaos

If you love classical music but also enjoy a good laugh (or if you just need some catharsis from your own musical nightmares), this podcast is for you. Stay tuned for the first episodes, and let’s dive headfirst into the beautifully absurd world of classical music—no concert etiquette required.

Until then, go practice… or just blame the piano.

Schubert, Beethoven, Mozart, Brahms—And Me

January 14, 2025 by luismagalhaes.com

Album Release, Beethoven, Brahms, Classical Music, Mozart, Piano, Recording Process, Schubert

Releasing an album feels a little like sending a message in a bottle. You record, refine, obsess over every detail, and then, eventually, you let it go—hoping it finds the right ears, the right hearts, at the right time.

On May 13, I’ll be releasing my new solo album, featuring Schubert’s B-flat Sonata and 3 Klavierstücke, Beethoven’s Op. 126, Mozart’s Fantasies in C minor and D Major, and Brahms’s Op. 119. These works are among the most personal and profound in the repertoire, and bringing them together in one recording has been a journey of both artistic and personal discovery.

Why These Works?

Choosing a program for an album is not just about selecting favorites. It’s about building a narrative—one that resonates with where I am as a musician today. Schubert’s B-flat Sonata is a piece of transcendence, written in the face of mortality. Mozart’s Fantasies are wild and free, full of contrasts. Beethoven’s Op. 126 Bagatelles, often overlooked, contain entire universes within miniature forms. And Brahms’s Op. 119—his final solo piano works—are both an ending and a quiet, intimate farewell.

The Recording Process

Recording these works has been both exhilarating and maddening (as all recordings tend to be). Unlike a live concert, where the energy of the moment carries you, the studio demands a different kind of presence—a patience for precision, an acceptance of imperfection, and a willingness to dive into the music again and again until it feels right.

The biggest challenge? Walking away. Knowing when to stop, when to trust that what’s there is honest and true to the music. And, of course, resisting the urge to blame the piano for everything (though, let’s be honest, that’s always a temptation).

What’s Next?

As the release date approaches, I’ll be sharing more behind-the-scenes moments—stories about the pieces, recording clips, and maybe even some outtakes of my less-than-perfect moments (because, let’s face it, those are always the most entertaining).

Classical music is often seen as something distant, something reserved for an elite few. But for me, it’s deeply human—full of humor, struggle, beauty, and absurdity. My goal with this album (and with everything I do) is to invite more people into this world, to share not just the music but the joy, the frustration, and the strange, wonderful life of being a pianist.

Stay tuned—and if you have any questions about the pieces or the process, drop them in the comments! Let’s make this a conversation.