Customer Reviews

Moscheles: Piano Concerto 2 & 3

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The music of Ignaz Moscheles was new to me, although I have heard the name before. He wrote 8 piano concertos in all, and numbers 2 and 3 were published around 1825. They are charming works in the classical tradition of Mozart but do not have the drama of Beethoven's last three concertos. The keyboard writing is brilliant and the orchestration is a good accompaniment. I find the concertos to be like a cross between Mozart and Chopin, having the technical mastery of the former and the lyricism of the latter. The disc includes a short work called Anticipations of Scotland: A Grand Fantasia. In fact, the work was composed before Moscheles made a visit to Scotland. The work is in 5 parts: an introduction, variations on three popular Scottish songs and a Finale. This was music designed to please his Scottish audience, and it certainly did.

I was equally unfamiliar with the Tasmanian Symphony Orchestra. They play superbly, and Howard Shelley in the dual role of pianist-conductor is simply wonderful. The recording clarity could not be better. If you like the concertos of Mozart and Chopin, this disc is a must.

Among the "pre-romantics" that flourished in their day, Ignaz Moscheles certainly ranks as one of the most important composers for the piano that has quite sadly fallen into oblivion under the adamantine divisions of western classical music of today.

Championed by Beethoven, he was both a protégé and to some extent Beethoven's contemporary, but the influence of his development in the piano's lexicon far outstretched his exact contemporary, Schubert. This comes as little surprise, as Moscheles was primarily a virtuoso pianist-composer, who was, not just adept at writing solo piano music but also of the larger concerto form.

That it has not secured a place in the concert repertoire is a mystery and shame; the sublime G minor concerto deserves special mention and the highest recommendation to rank beside those of Beethoven's, Chopin's or Schumman's, for its sheer beauty and masterly cohesion of themes; both pianistically and in terms of orchestration. The first movement introduces a brooding theme by the strings, followed by a Lisztian/Schummanesque introduction in descending, dotted-rhythm octaves. The ensuing theme happens not to be a new theme, but a reiteration of the first theme announced broodingly by the strings. The second lyrical theme of languid beauty, albeit in diaphanous simplicity is repeated several times in the movement as the leitmotiv and lyrical respite, that at times undergoes sublime inversions and harmonic variation.

Except for the developmental section, the entire pianistic writing of the movement is not overtly virtuosic, and in this sense, the approach is very similar to say Schumann. The entire movement has more affinity and foreshadows Schumman and Liszt, more than Chopin.

The second movement astounds for its ethereal beauty, with a piano writing and harmonic language that must have enraptured the young Chopin. Moscheles' confidence shines through, right up to the last movement, quite unarguably the most virtuosic and challenging of the three. That Moscheles held a high opinion of this work is supported by his choice to perform it for his last public performance during the apogee (arguably the saturation point) of Romanticism, at the time when he had no doubt, been eclisped by the ebb and tide of younger vituosi.

The second concerto in E flat major is an attractive work that blazes with ebullience and excursions of a new musical language. Departing from the more conservative first concerto; this work shows prescient Romanticism with no holds barred, following hot on the heels of John Field, perhaps with ever more dazzling virtuosity.

A definitive work in the series to own.

When I listen to Moscheles' sparkling and brilliant Concerto #2 (especially the wonderful 3rd movement), I find it almost impossible to believe that Moscheles' concerti have fallen completely off the musical radar. How can this be? It seems like any virtuoso worth his salt would want to strut his stuff with these very demanding works, rather than sally forth with another well-worn rendition of the Rachmaninoff #2.

At least we have the amazing Howard Shelley trying to rescue as many of these neglected works as he can. Even while doubling as conductor for the Tasmanian Symphony Orchestra (how nice that Tasmania can boast more than simply all those devils and Ricky Ponting), Shelley treats the listener to a dazzling performance and also imparts his obvious love and enthusiasm for these pieces. And why not? These concerti must be tremendous fun to play, for those who are able.

I particularly enjoy the two concerti on this disc because it feels that here Moscheles finds his true voice...a composer with a fair amount of experience under his belt but not yet sounding too much like his close friend and colleague Mendelssohn. These especially make me with that more of Moscheles' works would get recorded at some point. They certainly deserve to see light of day.

If I had to pick any one CD out of the whole Hyperion series, this would be the one!

There are some 40 discs in this series and they are all superb HYPERION recordings of works rarely performed or recorded....Highly recommended

Both CDs by this composes arrived very
quickly from Virginia and in excellent
condition.
I cannot rave about this vendor highly
enough. I am hopeful to be able to purchase
more from him soon.
Rob Russell