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Stylistically, Marx was influenced by Schumann, Brahms and Reger (the latter in his extended use of polyphonic development, very evident in this piano concerto) and he was seen by one contemporary critic (Heinrich Kralik) as a bridge between Brahms, Wolf and Schoenberg. Above all else Marx was an absolute master of harmony, as anyone who knows his exquisite lieder will attest. In the piano concerto, his harmonic palette is so rich that at times one might almost believe one was listening to Scriabin. These widely different composers are mentioned, not to imply that Marx was merely derivative but to show how his complex personal voice was fused from so many disparate sources and influences.
from notes by Brendan Carroll © 1998