Wilhelm Backhaus
Illustration — Wilhelm Backhaus, 1907 Wilhelm Backhaus ('Bachaus' on some record labels) (26 March 1884 – 5 July 1969) was a German pianist and pedagogue. He was particularly well known for his interpretations of Mozart, Beethoven, Schumann, Chopin and Brahms. He was also much admired as a chamber musician.
Wilhelm Backhaus

Privat · Public domain
- Born
- 1884
- Died
- 1969
- Nationality
- Germany · Switzerland
- Occupation
- pianist · music educator · composer · university teacher
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Illustration — Wilhelm Backhaus, 1907 Wilhelm Backhaus ('Bachaus' on some record labels) (26 March 1884 – 5 July 1969) was a German pianist and pedagogue. He was particularly well known for his interpretations of Mozart, Beethoven, Schumann, Chopin and Brahms. He was also much admired as a chamber musician.
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Wilhelm Backhaus (1884–1969) was a German and Swiss composer, music educator and pianist, among other activities.
Composed from admitted, traceable facts · 27 September 2026
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museum · c96542bf-9a0d-489f-b4ad-a2a90e08a92d · wikidata · Q60256 · wikipedia · Wilhelm Backhaus
In this article
Musical biography
Musical biography
Born in Leipzig, Backhaus was the son of a well-known architect. He began learning piano at the age of four with his mother, an amateur pianist. The boy's talent was soon recognized by Arthur Nikisch, at whose recommendation Backhaus studied under Alois Reckendorf at the Leipzig Conservatory between 1891 and 1899, then took private piano lessons with Eugen d'Albert in Frankfurt. As a boy of 9 or 10 he was taken to hear both of the Brahms piano concertos performed by d'Albert — and conducted by Brahms himself. He made his first concert tour at the age of sixteen. In 1900 he went to England and in 1901 played for the first time in Manchester at the Gentleman's Concerts. In 1902 he performed at the Hallé Concerts, and thereafter in 12 concerts at the Queen's Hall, London, and played 6 different piano concertos at the Promenade Concerts. In 1904 he became Professor of Piano at the Royal Manchester College of Music. In 1905 he won the Anton Rubinstein Competition, with Béla Bartók taking second place. He toured widely throughout his life - in 1921 he gave seventeen concerts in Buenos Aires in less than three weeks. Backhaus made his U.S. debut on 5 January 1912 as soloist in Beethoven's 5th Piano Concerto (the "Emperor") with Walter Damrosch and the New York Symphony Orchestra. He taught at the Curtis Institute of Music in 1926. In 1930, he moved to Lugano and became a citizen of Switzerland. He died in Villach in Austria, where he was due to play in a concert. His last recital a few days earlier in Ossiach was recorded.
Role in Nazi Germany
Role in Nazi Germany
Although Backhaus and his wife had become Swiss citizens in 1931, he maintained an active career in Germany. After the seizure of power by the Nazis, Backhaus met Adolf Hitler no later than May 1933, while flying with him to Munich. That same year, he became an executive advisor to the Nazi organization Kameradschaft der deutschen Künstler (Fellowship of German Artists). For the show elections of 29 March 1936, Backhaus published a statement in the magazine Die Musikwoche under the rubric of "soloist" translated as, "Nobody loves German art, and especially German music, as glowingly as Adolf Hitler…" A month later, on 20 April 1936, Hitler's 47th birthday, he gave Backhaus a professorship, and invited him that September to attend the annual Nazi party's Nuremberg Rally. The violinist Leila Doubleday Pirani wrote that in November 1938, she attended a Backhaus concert in London (conducted by Sir Adrian Boult) with the Viennese Jewish violinist Alma Rosé, who told Pirani that Backhaus "was a great friend of the family" and took her backstage to greet the pianist after the concert; but Pirani writes that while "Boult greeted us nicely," Backhaus, upon seeing Rosé, "turned his back and walked through a passage. Alma's face twitched, and of course I realized what a shock this was to her."; Pirani called the incident "a stab in the back by this cowardly man, who for fear of his Nazi masters could not behave decently, even in London." The incident is reported by Richard Newman, who writes his "offensive behavior... may have been due to his awareness of German agents operating in London at the time..." Newman also adds that Backhaus moved to Switzerland "in opposition to the Nazi regime". However, the Backhauses had moved there in 1930 several years before the Nazis came to power.
Identity
Identity
Wilhelm Backhaus is recorded as pianist, music educator, composer and university teacher. Backhaus received Knight Commander's Cross of the Order of Merit of the Federal Republic of Germany and Great Silver Medal of Honour for Services to the Republic of Austria.

Rotary Photographic Co., London (active 1899-1910)
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Wilhelm Backhaus gezeichnet von Ismael Gentz 1905 (gezeichnet in 3 1/4 Stunden). Privatsammlung
Ismael Gentz · Bearbeitetes Werk by © 1971markus
Life and career
Dated record
Life and career
The full dated record · 1 entries
1969
Wilhelm Backhaus died at Villach.
Recordings
Backhaus had a long career on the concert stage and in the recording studio. He recorded the complete piano sonatas and concertos of Beethoven and many works of Mozart and Brahms, and in 1928 he became the first pianist to record the complete Etudes of Frédéric Chopin. Backhaus' readings are still widely regarded as among the best recordings (Pearl 9902 and others) of those works. In two groups of sessions in 1932 and 1936, he recorded a series of selected small Brahms piano works, as a connected project for His Master's Voice, including a 1936 recording of Brahms's Waltzes, Op. 39. His recordings of the complete Beethoven sonatas, made in the 1950s and '60s, display exceptional technique for a man in his seventies (Decca 433882), as do the two Brahms concertos from about the same time (Decca 433895). His live Beethoven recordings are in some ways even better, freer and more vivid (Orfeo 300921). On the other hand, his playing was sometimes accused of being "mechanical" and "lacking in insight." His chamber recordings include Brahms's cello sonatas with Pierre Fournier, and Schubert's Trout Quintet with the International Quartet and Claude Hobday. The Times praised Backhaus in its 1969 obituary for having upheld the classical German music tradition of the Leipzig Conservatory. His phenomenal transposing powers spawned many anecdotes: finding the piano a semitone too low at a rehearsal of Grieg's A minor Concerto, he simply played it in B-flat minor — and then in the original A minor at the concert after the instrument had been correctly tuned. Backhaus was quick to recognize the importance of recordings. His drastically abridged 1909 recording of the first and third movements of the Grieg Piano Concerto, lasting about six minutes in total, was not only the first recording of that work, but also the first recording of any concerto. He recorded it complete, and magnificently, in the early 1930s. At the time of his death, Backhaus had nearly completed his second complete Beethoven sonata cycle. All that was missing was the Hammerklavier Sonata.
Primary material
Documents and archives
Institutional database
- MusicBrainz artist record for Wilhelm Backhaus
Scholarly · MetaBrainz Foundation
reference work
- “Wilhelm Backhaus”, English Wikipedia, consulted as further reading
Reputable secondary · Wikipedia
authority record
- Wikidata, structured authority record Q60256: Wilhelm Backhaus
Unverified · Wikidata
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Slonimsky, Nicolas. Baker's Biographical Dictionary of Musicians. Schirmer Books. 1992.
- 2.Geo. Woodhead and Co Ltd. Manchester Faces and Places. 45–48. February 1905.
- 3.Fred K. Prieberg: Handbuch Deutsche Musiker 1933–1945, CD-Rom-Lexikon, Kiel 2004, S. 213.
- 4.Ernst Klee: Das Kulturlexikon zum Dritten Reich. Wer war was vor und nach 1945. S. Fischer, Frankfurt am Main 2007, p. 23.
- 5.Full quote to be found (in German) by Fred K. Prieberg: Handbuch Deutsche Musiker 1933–1945, p. 213, also see Ernst Klee: Das Kulturlexikon zum Dritten Reich, p. 23.
- 6.Quoted on p. 111 (also do refer to p. 49 of the same book) of Richard Newman, Alma Rosé: From Vienna to Auschwitz, 2003, Hal Leonard,
- 7.Note 15, p. 341 of Richard Newman, Alma Rosé: From Vienna to Auschwitz, 2003, Hal Leonard,
- 8.https://exhibitions.lib.umd.edu/binaries/content/assets/public/ipam/piano-traditions-through-genealogies/the-franz-liszt-tradition_article.pdf
- 9.The Art Of Piano Great Pianists Of The 20th Century. YouTube. 26 January 2009.
- 10.Frank Forman. Acoustic Chamber Music Sets (1899-1926): A Discography. Journal of the Association for Recorded Sound Collections. In three parts: Volume 31, No. 1 (Spring 2000); Volume 31, No. 2; Volume 32, No. 1.
- 11.The Times (July 7, 1969) "Professor Wilhelm Backhaus"
- 12.Naxos.com. Wilhelm Backhaus- Bio, Albums, Pictures – Naxos Classical Music.
References
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MusicBrainz artist record for Wilhelm BackhausMetaBrainz Foundation
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Wilhelm Backhaus studied at University of Music and Theatre Leipzig. The record notes the qualification professor. He trained under Eugen d'Albert. Each of those relationships is stated by the authority record rather than inferred from style.
The Encyclopedia exists whether or not anything is for sale. Corrections are recorded rather than overwritten, and every version of this record is kept. Published 14 August 2026.
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