If Franz Liszt’s music was described as Zukunftsmusik (music of the future) by his friends, it is because it was resolutely innovative. The composer not only proposed a renewal of genres and forms but initiated a veritable trend of thought towards a new poetics: Liszt created the symphonic poem genre and programme music. Inversely, the partisans of Johannes Brahms turned the word Zukunftsmusik into Unmusik (non-music) since, for them, Liszt’s music ran counter to the very essence of abstract music, which was intrinsically sufficient unto itself. After the success of Lost in Venice with Prometheus, Jan Michiels invites us here to relive from the inside this ‘war of the Romantics’ between progressives and conservatives, through refined, intelligent readings of works by Liszt (Gretchen, S. 513 and the Sonata in B minor, S. 178), Brahms (Variations on a Theme by R. Schumann, Op. 9), and Schumann (Fünf Gesänge der Frühe, Op. 133). But the pianist also offers us a reconciliation: Schönberg’s Kammersymphonie No.1, Op. 9, in its transcription for solo piano, combines ‘traditional’ work on the motif with a form based on Liszt’s strokes of inspiration. Music-loving friends, welcome to the battlefield!