Ignaz Moscheles (1794-1870) - virtuoso composer, teacher, popularizer

[Scion7]

Bohemian Jew born in Prague in 1794, died in Leipzig in 1870.
Student at the Prague Conservatory, where he was given a thorough grounding in Bach-Mozart-Clementi.
Great admirer of Beethoven, to the point of moving to Vienna to be closer to him - later he was commissioned to write a piano-reduction of Fidelio. Was a student of Salieri.
His early virtuosic compositions won him great fame as a performer and admiration of other pianists, and he performed extensively over much of Europe.
He gave Mendelssohn lessons in Berlin. After marrying Charlotte Emden (who was to write a biography of her husband and his life among famous artists) he settled in London. Taught at the Royal Academy of Music. Conducted the first London performance of Beethoven's Missa solemnis in 1832, and also the Ninth symphony. He also translated Schindler's biography of Beethoven to English for publication in London.
Helped to reawaken interest in Bach and Scarlatti by performing their works at salons and concerts.
Performed with Mendelssohn and Chopin; admired Liszt and Chopin, but considered their improvisations too showy.
After London, he moved to Leipzig, where he was the leading piano professor at the Conservatory.  Grieg was one of his students.
His work was forgotten in the rise of the Great Romantics, but a revival began in the late 20th century.
Greatly admired for his virtuosity and his Classical restraint.  His wife outlived him by 20 years, and her biography of him has been a source of information about other composers of his day.



   chamber music                                                                                                         orchestral pieces
==================                                                                                ==============================
Introduction et Variations concertantes for Piano, Violin, & Cello, Op.17                          Symphony in C, Op.81 (1829)
6 Variations Concertantes, for Piano & Flute/Violin, Op.21                                              Jeanne d'Arc, Overture, Op.91 (1835)
String Quartet in d (lost)                                                                                             Piano Concerto Nr.1 in F, Op.45 (1819)
Grand Duo Concertante for Piano & Cello/Bassoon, Op.34 (1814)                                    Piano Concerto Nr.2 in E, Op.56 (1823)
Variations de Concert on an Austrian Waltz, for Piano & Violin, Op.36                              Piano Concerto Nr.3 in g, Op.60 (1820)
Grand Caprice Suivi d'un Potpourri for Piano & Cello/Violin, Op.37                                   Piano Concerto Nr.4 in E, Op.64 (1823)
Sextet in E, for Violin, Flute, 2 Horns, Cello & Piano, Op.35 (1815)                                  Piano Concerto Nr.5 in C, Op.87 (1826)
Grandes Variations sur une Mélodie Nationale Autrichienne, Op.42                                  Piano Concerto Nr.6 in B, Op.90 'Fantastique' (1833)
    - for Piano, 2 Violins, Viola, Cello, Bass                                                                      Piano Concerto Nr.7 in c, Op.93 'Pathetique' (1836)
Sonata in A for Flute & Piano, Op.44 (1819)                                                                  Piano Concerto Nr.8 in D, Op.96 'Pastorale' (1838)
Grand Rondeau Brillant, Op.43 for Piano, 2 Violins, Viola, Cello, Bass                               Concertante in D, for Flute, Oboe & Chamber Orchestra
Fantasie, Variationen und Finale, Op.46 for Piano, Violin, Clarinet/Viola, Cello (1819).      Souvenirs de Denmark for Piano & Orchestra (1830)
Französisches Rondo Concertirend for Piano & Violin, Op.48 (1819)                                 Fantaisie sur des Airs des Bardes Ecossais, for Piano
Grand Potpourri Concertant, Op.59 for Piano & Violin/Flute (w.Lafont) (1821)                             & Orchestra, Op.80. (1828)
Introduction et Rondeau Ecossais Concertants, Op.63 for Piano & Coronet (1821)
Divertimento à la Savoyarde, Op.78 for Piano & Flute/Violin                                            Anklänge aus Schottland. Fantasie über schottische
Sonata in G, Op.79 for Piano & Flute/Violin (1828)                                                                  Nationallieder, for Piano & Orchestra, Op.75 (1826)
Septet in D, Op.88 for Violin, Viola, Clarinet, Horn, Cello, Bass & Piano (1833)
4 Divertissements for Piano & Flute, Op.82b
Piano Trio in c, Op.84  (1830)
Sonata in E, Op.121 for Cello & Piano  (1851)
Studies in Melodious Counterpoint, Op.137a for Piano & Cello (1861)
Feuillet d'Album de Rossini, Op.138 for Piano & Horn

     piano music
=============================
Piano Sonata in D, Op.22
Piano Sonata in Bb, Op.27  (1814)
La marche d'Alexandre, Op.32  (1815)
Sonate mélancolique, Op.49. (1814)
Fantaisie ... et variations sur Au clair de la lune, , Op.50 (1821)
Les Charmes de Paris, Op.54
Rondoletto sur un Nocturne Favori de Paër, Op.61
Impromptu in b, Op.62
Souvenirs d'Irlande, , Op.69 (1826)
24 Etudes, Op.70
4 Fantasias, Op.72  (1826)
50 Preludes, Op.73
Les Charmes de Londres. Rondeau brilliant précédé d'une, Op.74
Anklänge aus Schottland, Op.75 (1826)
Rondeau brilliant précédé d'une Introduction for Piano Four-Hands, Op.76 (1828)
Allegro di Bravura, Op.77  (1824)
Fantaisie sur des airs des bardes écossais, Op.80 (1828)
Souvenirs de Danemarc,  Op.83 (1830)
Duo concertant, variations on march from Weber's Preciosa, Op.87b, (1833) [collab. Mendelssohn]
Fanatasia in Eb, Op.13
Fantasia in D, Op.57
Rondo Sentimental, Op.82a
Impromptu in E♭, Op.89 (1834)
Hommage a Handel, Grand Duo for Two Pianos, Op.92 (1822 & 1835)
12 Nouvelles grands études caractéristiques, Op.95
2 Études, Op.98
Ballade in A♭-minor, Op.100
Romance et Tarantelle Brillante, Op.101
Hommage à Weber. Grand Duo for Piano 4 Hands, Op.102
Serenade in F, Op.103
Romanesca in d, Op.104  (1841)
2 Études, Op.105
4 Grandes études de concert, Op.111
Grande Sonate Symphonique No.2 in b, Op.112 for Piano Four-Hands (1845)
Souvenirs de Jenny Lind. Fantaisie Brillante, Op.114
Les Contrastes, Grand Duo for 2 Pianos, 8 Hands, Op.115
Grand Valse in D♭ , Op.118
Mazurka Appassionata in D minor, Op.120
Magyaren-Klänge. Original-Fantasie, Op.123
Grande études de concert, Op.126
Scherzo in B♭ , Op.127
Humoristische Variationen, Scherzo und Festmarsch, Op.128 (1856)
Reverie Melodique, Op.133
Toccata in F♯ minor for Piano, Op.134 (1860)
Pastorale im Orgel-Style, Op.135 (1860)
Lied im Volkston - Variations for Piano Duet, Op.139
Familienleben (Domestic Life)- 12 Progressive Pieces for Piano Duet, Op.140 (1866)
March and Scherzo as Rhythmic Exercises (Piano Duet), Op.141
3 Charakterstücke for Piano Duet, Op.142 (1869)
(many more - there are some 30 piano pieces w/o opus number - work in progress)

[Scion7]

ISBN-13: 978-1843839354


ISBN-13: 978-0859678216


ISBN-13: 978-1402167324
ISBN-13: 978-1402169601

[Scion7]

[asin]B0000021EM[/asin]   alt version Op 46   [asin]B000EFTEOY[/asin]

[zamyrabyrd]

Thanks, very interesting...

ZB

[Scion7]

Now only available in a butt-ugly multiple CD set:  http://www.mdt.co.uk/romantic-piano-concertos-brilliant-classics-40cds.html

The original 1976 Turnabout LP -

[Scion7]

^1969 LP  -  click to enlarge

[Scion7]

There are two complete sets of the Piano Concertos, plus a few other selections - all are on Amazon.



^ click image

[Scion7]

[asin]B000PC0TJU[/asin]

[asin]B000ENC6Q4[/asin]

[asin]B01GPUM4UW[/asin]

[Scion7]

[asin]B0012SQ0SK[/asin]

[asin]B005145WXU[/asin]

[asin]B00OSB0R0U[/asin]

[asin]B01G7OFKWU[/asin]

[asin]B000028DQD[/asin]      Piano Trio in c, Op.84 was composed in 1830. Superb and lovely melodies for all 3 voices are found in the opening Allegro con spirito, a huge movement nearly as long as the rest of the trio. There is, as one might expect from a pianist of Moscheles stature, some very fine writing for piano, which must have been characteristic of his technique, but there is also very fine writing for the strings as well. The piano, in contrast to the efforts of so many other piano virtuosi, does not dominate. The lovely Adagio which follows again keeps the parts in balance and while the piano does receive the occasional florid run, it is more in the tradition of Beethoven rather than Mendelssohn. Most original of the four movements is the short but unusual Scherzo alla Scozzese: Presto, leggiero e ben staccato. Scozzeses one finds in Beethoven and elsewhere, but they are invariably slow, but here we have a Scottish scherzo! It's very clever and quite effective. In the finale, Allegretto grazioso, the piano 'escapes' once or twice but no more than in Mendelssohn. While perhaps not as strong as the first three movements, it is nonetheless good albeit perhaps a bit backward-looking toward early Beethoven. All in all, one can see why Schumann was enthusiastic - it was because of the music and not the man.
     Schumann used the term to describe a characteristic built into the composition itself, demanding "poetic unity" - a quality of inner connection accompanied by non-corporeal "thoughts" and "fantasy" - instead of Benedict's outlay of pleasing melodic turns and physical virtuosic gestures: "The days are past when a sugary figure, a yearning appoggiatura, and E-flat major run over the keyboard, raised astonishment: now, one wants thoughts, inward connection, poetic unity, the whole bathed in fresh fantasy."  Schumann appealed to both interpretations of poetic interiority in a review of Moschele's Piano Trio Op. 84: he praised the composer for allowing "the idea to reign," using "poetic raw materials [poetischen Grundstoff]," and conveying "noble states of the soul."

[Scion7]

Thanks, very interesting...
ZB

Yeah, he's been a new discovery.
While I've grabbed quite a bit of his output, there are several things that apparently have never been recorded, so . . . Grrrr! 

[SonicMan46]

TTT!  Well has been nearly 3 years since the last post to this 'short' thread started and supported by Scion7 - there are some excellent opening posts w/ a bio and grouping of his works - for a complete listing of Moscheles' compositions which go to Op. 142, check HERE.  For myself, I own the 6 CDs shown below (most if not all have been shown previously) - attached are reviews of each; as expected from one of the lauded pianists of his time, the best comments seem to relate to the Piano Concertos, although I have just listened to the cello and wind works w/ great pleasure.

Also mentioned by Scion7 are a number of books, none of which are inexpensive on Amazon USA - I would be curious which of the books might be a first choice?  Now, I've probably not added to my collection in over 10 years, so checking Amazon, not much more seems to be available - there is a flute recording on Naxos and some alternates to the piano music mainly (there are about a dozen albums on Spotify, including the flute disc and Piano Concertos w/ Ian Hobson) - let's see if anyone else 'chimes in' w/ comments, suggestions, etc.  Dave

   

     

[stuart]

I am new to this site,not a musician or academic.,so I don't know whether my comments will be of any relevance.
I have recordings of the Symphony,some piano pieces recorded by Piers Lane,the Introduction and Rondo Ecossais,Theme varie de Feuillet d'album de Rossini by Marsolais and Jalbert nand the seven Piano Concerti with fill ups.
From this I cannot understand why his music is rarely heard and we have to thank the record companies for giving us the opportunity to hear his work

[SonicMan46]

I am new to this site,not a musician or academic.,so I don't know whether my comments will be of any relevance.
I have recordings of the Symphony,some piano pieces recorded by Piers Lane,the Introduction and Rondo Ecossais,Theme varie de Feuillet d'album de Rossini by Marsolais and Jalbert nand the seven Piano Concerti with fill ups.
From this I cannot understand why his music is rarely heard and we have to thank the record companies for giving us the opportunity to hear his work

Hi Stuart - welcome to the GMG Forum!  As you explore the various sub-forums and the numerous discussions here that go back well over a decade, there are numerous threads and many posts on composers from the past (especially the 18th & 19th centuries) that have been pretty much forgotten or ignored despite the quality of their music; many of us here, including myself have started or contributed to threads on these 'lost' composers - I believe as you explore the forum more and look under the 'composer sub-forums', you'll discover many that might be of interest - hope that you enjoy.  Dave

[lordlance]

Moscheles wrote several concertos (and they seem to form the majority of his orchestral output): Which concerto has the best theme for someone new to the composer?

[Albion]

Moscheles wrote several concertos (and they seem to form the majority of his orchestral output): Which concerto has the best theme for someone new to the composer?

Get all three volumes of the Hyperion "Romantic Piano Concerto" series devoted to Moscheles. Then launch into the Herz, Pixis and Kalkbrenner discs, you'll not regret it. Howard Shelley is a pianist-conductor wizard in this repertoire....

[lordlance]

What's the best orchestral and chamber intro to Moscheles? He wrote loads of piano concerto so just one would be nice - best of the lot.