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Pianist Alice Sara Ott was well known as a child prodigy. She has parlayed that fame into an adult career that has included critical acclaim and a contract with the Deutsche Grammophon label that resulted in an innovative collaboration with electronic musician Ólafur Arnalds.

Ott was born in Munich on August 1, 1988. Her father was a civil engineer, her mother a pianist. Ott took up the piano at four, and the following year, she reached the final round of a youth competition in Munich, playing before a full house. At seven, she won Germany's Jugend Musiziert competition, a win followed by a long series of youth contest victories. At 12, Ott matriculated at the Salzburg Mozarteum, studying with Karl-Heinz Kämmerling. In 2005, she appeared as the soloist in the Tchaikovsky Piano Concerto No. 1 in B flat minor, Op. 23, with the Sapporo Symphony Orchestra; reaction was strongly favorable, and since then, she has often toured in Japan as well as in the U.S. and Europe, where a 2008 performance as a last-minute substitute for Murray Perahia drew a standing ovation and broadened her reputation.

The following year, Ott released her debut recording on the Deutsche Grammophon label, a recital devoted to Liszt's Transcendental Etudes. A live Ott performance of the Tchaikovsky Piano Concerto No. 1 and the Liszt Piano Concerto No. 1 in E flat major with the Munich Philharmonic was recorded by the label and issued in 2010. Ott has gone on to make more than ten recordings with Deutsche Grammophon. An exception was one of Ott's most publicized releases, The Chopin Project, a collaboration with electronic musician Ólafur Arnalds. In 2019, Ott announced that she had been diagnosed with multiple sclerosis, but she continued to perform and record. In 2021, on Deutsche Grammophon, she released the album Wonderland, devoted to the music of Edvard Grieg. ~ James Manheim

The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. His compositions, which frequently pushed the boundaries of tradition and startled audiences with their originality and power, are considered by many to be the foundation of 19th century musical principles.

Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then was granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.

Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the 19th century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the 19th century, Beethoven still directly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a harbinger of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power. ~ Rovi Staff

His musical education was erratic, he toiled as a civil servant and wrote music only part-time, influenced few if any of his contemporaries, died early from alcoholism, and left a small body of work. Yet Modest Mussorgsky was a towering figure in nineteenth century Russian music. His works exhibit a daring, raw individuality, a unique sound that well-meaning associates tried to conventionalize and smooth over. He is best known for Night on Bald Mountain (bowdlerized by Rimsky-Korsakov), Pictures at an Exhibition (a difficult piano suite orchestrated by Ravel), and the dark, declamatory opera Boris Godunov (polished by Rimsky-Korsakov) -- bastardized works all, yet each one full of arresting harmonies, disturbing colors, and grim celebrations of Russian nationalism.

Mussorgsky died in poverty, but he was born to a wealthy landowning family. Under his mother's tutelage, he developed a facility at the piano, but entered a cadet school in preparation for a military career. He joined a choir and discovered Russian church music, which would profoundly influence his later work.

Upon graduation in 1856, Mussorgsky entered the Russian Imperial Guard. That year he started to socialize with the composers Dargomizhsky and Cui, and through them Balakirev, with whom he began composition lessons. During this period he wrote small piano pieces and songs, and after an emotional crisis in 1858 resigned his commission with the intention of composing full-time. He began to go his own way as a composer in 1861, but was preoccupied helping to manage his family's estate. The decline in his family's fortunes led him to accept low-level civil service positions. He joined a commune with other intellectuals and became a proponent of musical Realism, applying the style to his songs. He had difficulty finishing works in larger formats, but his music circulated widely enough that by the late 1860s he was cast with Balakirev, Cui, Rimsky-Korsakov, and Borodin as part of Russia's "Mighty Handful."

Mussorgsky toiled many years at his masterpiece, Boris Godunov, which reflected in music the inflections of Russian speech and met with great success in 1874. That year he also produced his innovative piano suite Pictures at an Exhibition. Yet his heavy drinking led to his dismissal from government service in 1880. Friends offered some financial help and Mussorgsky occasionally accompanied singers at the piano, but his finances and mental state quickly deteriorated. He died in 1881, leaving it to posterity to sort through and complete his unfinished works of unruly genius.