Author Topic: Emanuel Moor [1863-1931] - Erdély a magyarok számára!  (Read 1809 times)

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Offline Scion7

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Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« on: September 01, 2017, 12:10:57 AM »
He even has a Facebook page!  -  https://www.facebook.com/emanuelmoor/

For a complete list of works  -  http://www.emanuel-und-henrik-moor-stiftung.de/Emanuel/works.shtml

I'm going to swipe the bio from The Grove here - since it is pretty short and this composer is fairly unknown - sorry, chaps!

          (b Kecskemét, nr Szeged, 19 Feb 1863; d Mt Pélerin, nr Vevey, 20 Oct 1931). Hungarian composer, pianist and inventor.
          The son of a cantor, he studied in Prague, Budapest and Vienna before travelling to America in 1885 to pursue a career as a pianist and
          conductor. In 1888 he settled in England, but travelled frequently to the continent for performances of his works and was encouraged by
          Brahms, whom he met in 1889. In England his work was championed by George Henschel, who conducted his First Symphony,
          the Concert Overture and the Piano Concerto in D; the concerto shares with the Second Symphony (1895) a distinctive Hungarian style
          in its strong rhythms and harmonies. In 1901 Moór moved to Switzerland, where he turned increasingly to opera. Diverse in style and
          favourably received (most were staged), the operas were nonetheless dropped from the repertory before long, and Moór continued with
          instrumental composition, finding champions in such performers as Casals (the dedicatee of several works), Marteau, Eugene Ysaÿe and
          Flesch. Highly rhapsodic and coloured, Moór’s music was often inspired by the contrapuntal complexity of J.S. Bach, as well as by his own
          Hungarian and Jewish background; despite the musical innovations of the first decades of the twentieth century, Moór’s work remained
          rooted in the nineteenth century.
          Moór is perhaps best known as the inventor of the ‘duplex-coupler’ pianoforte (see Emanuel Moór pianoforte) in 1920. A two-keyboard
          instrument, the invention was taken up with enthusiasm by Tovey and the pianists Max Pirani and Winifred Christie (who became Moór’s
          second wife); Bruno Walter was also supportive. In addition Moór invented a new type of violin, but despite initial interest shown
          in both inventions, they failed to make any lasting impact.


There are holes in his works inventory, evidently indicating these opus numbers are either lost, or too fragmentary/not notated.

          List of Works (in progress)

          Chamber Music
=======================

Piano Quintet in c, Op.19,   1888
Piano Quintet in C, Op.97
Polonaise Brillante for violin and piano, Op.10
Cello Sonata No.1, Op.22, 1889
Cello Sonata in a, Op.53
Cello Sonata No.2 in G, Op.55
Cello Sonata No.4 in a, Op.76
Suite for Violin and Cello, Op.109
Suite No.2 for Violin and Piano in e, Op.52
Adagio for violin and piano, Op.25    1893
Suite for piano and violin, Op.22
Suite for violin and piano in g, Op.50
Sonata in G for violin and piano, Op.12
Violin Sonata No.2 in a, Op.21,  1888
Violin Sonata No.3 in A, Op.23   1889
Sonata for violin and piano in C, Op.51
Violin Sonata in G, Op.54
Violin Sonata No.6 in e, Op.56
Violin Sonata in A, Op.74
String Quartet No.1 in A, Op.59    1905
String Quartet No.2, Op.87
Suite for 2 Cellos, Op.110
Suite for 3 Violins, Op.133
Suite for Cello and Piano, Op.117
Suite for Cello Solo, Op.122
Piano Trio in E, Op.74a
Piano Trio in C, Op.81
Piano Trio in Bb, Op.89
Piano Sonata in c#, Op.60
Piano Sonata Nr.2 in Eb, Op.103
Harp Sonata, Op.68

     Orchestral
====================

 Symphony Nr.1, 1893
 Symphony Nr.2, 1895
 Symphony Nr.3 in d, 1896
 Symphony Nr.4, 1898
 Symphony Nr.5 in a, Op.53a, 1901
 Symphony Nr.6 in e, 1906
 Symphony Nr.7 in C, 1906
 Symphony Nr.8 in a, Op.92, 1910
 Sérenade, strings, 1881
 Piano Concerto, D, 1886
 Piano Concerto in c, 1888
 Concert Overture, 1893
 Violin Concerto No.2 in G, Op.62   1905
 Violin Concerto No.3 in E, Op.66   1906
 Violin Concerto No.4 in C, Op.72    1908
 Cello Concerto Nr.1 in E, Op.61  1905
 Cello Concerto Nr.2 in c#, Op.64  1906
 Concerto for 2 Cellos in D, Op.69
 Improvisation on an Original Theme, 1906
 Piano Concerto, Op.57  1906
 Piano Concerto in Eb, Op.85
 Triple Concerto in d for Violin, Cello, Piano, Op.70 1907
 Rhapsody, Violin, orch, 1907
 Rhapsody, Cello, orch, 1907
 Pensées symphoniques, 1908
 5 Concertstück: pf, orch, ?1908, vn, vc, orch, 1909, pf, orch, 1909, vn, orch, va, orch
 Chant funèbre, 1910
 5 Impressions, 1910
 Chant héroïque, 1911
 Rhapsody for Cello & Orch, 1911
 Harp Concerto, 1913
 Viola Concerto

     Opera
=================

The Lord of Fontanelle (B. Harte), lost;
La Pompadour  1902;
Andreas Hofer  1902;
Der Goldschmied von Paris 
Hochzeitsglocken ,  1908

     Choral
=====================

La jeune tarantine, Mez, orch;
Mass, solo vv, chorus, orch;
Stabat mater, A, female vv, orch/org, 1911;
Requiem, 4 solo vv, chorus, orch, 1916;
various songs

« Last Edit: September 01, 2017, 12:26:10 AM by Scion7 »
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Scion7

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Re: Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« Reply #1 on: September 01, 2017, 12:27:54 AM »
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Scion7

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Re: Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« Reply #2 on: September 01, 2017, 12:36:39 AM »
Unfortunately, his works are almost totally unrecorded.
The cello sonatas seem to be the only things that the record companies have picked up.
Much like Johanna Senfter (1897-1961), a composer that appears to be most interesting is so neglected that we'll never get to hear the great majority of his work.   :(

There's a few YouTube things out there, if one is curious




The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline schnittkease

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Re: Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« Reply #3 on: September 01, 2017, 08:12:58 AM »
I considered making a thread on this composer a while ago. He was a good friend of Pablo Casals, for whom many cello works were written. Moór's most important composition is probably the Double Concerto, op. 69, for two cellos. It is nice music, though I can do without.
« Last Edit: September 10, 2017, 01:50:00 PM by schnittkease »

Offline Scion7

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Re: Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« Reply #4 on: September 01, 2017, 12:38:55 PM »
Yes, the original post had that info in the New Grove article above. ^
The problem with judging his most important composition is - we haven't heard 99% of his music!
It's not recorded.
The only vinyl release I ever found after extensive searches was a 78rpm of one the small chamber works.
CD releases of his music are restricted to the cello sonatas and one prelude for piano and cello . . .

Since Brahms apparently approved of him, it's a great shame so little of his pieces have been made available.
« Last Edit: September 01, 2017, 12:44:04 PM by Scion7 »
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal

Offline Scion7

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Re: Emanuel Moor [1863-1931] - Erdély a magyarok számára!
« Reply #5 on: September 02, 2017, 11:48:52 AM »
A live performance of a piano trio.

https://www.youtube.com/watch?v=JSEJvswVx1M

I was hoping to enjoy this, but the sound is bloody awful.  Too bad.
The Germans, who make doctrines out of everything, deal with music learnedly; the Italians, being voluptuous, seek in it lively, though fleeting, sensations; the French, more vain than perceptive, manage to speak of it wittily; and the English pay for it . . . - Stendhal