Strauss is not known for his keyboard music; operas, symphonic works, songs, and concertos are the genres that most people associate with him. Anyone who hears this set of piano pieces will not have a fair representation of the composer's greater output. This Op. 3 is at first more discreet and tender than the explosive world between romanticism and modernism that most of Strauss' music occupies. It then carries on to have a bit of fun with its audience. Each of these five movements is gorgeously crafted gem with a distinct character. As well, the music's inspiration seems initially to be drawn from different periods of the 19th century. The first movement, for example, evokes the first generation of romantic composers to write piano music that emulated Beethoven's late period. Sober and reflective, this movement will impress upon anyone that however little piano music Strauss wrote, he could do so with astonishing clarity. The second movement is reminiscent of Schumann's less densely textured early compositions, with its audible ciphers and flowery harmony. The heartbreaking third movement is the last word in salon melodrama; its nocturnal sadness and longing encompasses a vital spirit of 19th century chamber music. Its earnestness stands in stark contrast with the following, fourth movement, which sounds ironic with its crisp, exaggeratedly regular phrasing and extra-poised flourishes. Some listeners may feel that some of the playful instincts heard here are comparable to those of the Frenchman Eric Satie, who's Sonatine bureaucratique demonstrated a similarly piercing, humorous brilliance. This quality is carried over into the final movement. It rounds up the themes of the previous movements and allows the listener to digest all the differing atmospheres that have been played out. It is a sort of pastiche, but one that seems interested in playing upon the listener's willingness to be manipulated or ‘swept away' by the music. In this way, and in spite of the romantic nature of the early movements, it is a modern work; the audience is forced to contend with being part of the compositional equation. It is an astute, immaculately crafted score that deserves close consideration.

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