“Gál was a master of his craft. He was an accomplished pianist and a fine cellist and, as with many other Adler students, he was also a musical polymath: his doctoral dissertation had been on the stylistic characteristics of the young Beethoven, a subject that would have been close to Pfitzner’s heart. In 1925 and 1928, he edited volumes of Strauss waltzes, marches and polkas for Adler’s Denkmäler der Tonkunst in Österreich. Gál was, in many ways, the archetypal composer of his day and he could potentially stand as a representative of musical creativity during the years of the Weimar Republic.”

– from Forbidden Music