Search - Ignaz Moscheles, Michael Krucker :: Ignaz Moscheles: Romantic Piano Music

A Fascinating Historical Document and a Strong Case for Mosc

Hexameron | 06/01/2007

(5 out of 5 stars)

""Today there has to be a special reason for a young pianist to play the piano music written by Ignaz Moscheles, the nearly forgotten virtuoso, conductor and composer, who stood in the shadow of the illustrious names of his time," so begins the CD liner-notes. It's a shame such a statement needs to be said. Why does there have to be a "special reason" for anyone to play Moscheles? He is not a "nobody": he knew Beethoven, and consulted with the genius to arrange Fidelio for piano; he conducted the first London performance of the Missa Solemnis; he taught Mendelssohn, and above all, he has composed piano music of startling quality.



This particular recording employs a pianist I am totally unfamiliar with, Michael Krucker, who performs these works on an 1844 Erard Grand Piano de Concert. The recording sound is excellent and the old Erard is truly a remarkable instrument for its time. It's no Steinway, but it demonstrates great sonority and a beautiful tone; no wonder Liszt himself preferred the Erard. Of all the pieces to select from Moscheles's oeuvre, the choices here are superb and all of them world premiere recordings. The greatest showcase of Moscheles's expressive powers is the Sonate melancolique Op. 49, the Souvenir de Rubin and the Grosse Sonate Op. 41. Why has the Sonate melancolique, an ethereal, beautiful and wonderfully original single movement Sonata been ignored? And the Souvenir de Rubin, a fantasy on a Cavatina from Rubin's "Anna Bolena" is a spellbinding and brilliant virtuoso piece.



It's apparent that Moscheles was able to adapt with the times and write operatic potpourris and miniatures. But he fairs equally well with the older large scale forms. His Grosse Sonate Op. 41, for instance, is a grand and impressive work dedicated to Beethoven. It certainly recalls the majesty and expressive content of the master. The first movement is a stunning tapestry of melodious themes intertwined with dramatic undercurrents. The Menuetto is delightful and accessible, clearly inspired by Beethoven's success in crafting motivic and memorable themes. The last two movements are equally marvelous, and Moscheles's Romantic style is readily seen in the gorgeous but distressed Romanze. Of the works I didn't mention, the Rondo sentimental Op. 82 is probably one of the most memorable exhibitions here, fusing Mozartian filigree with Chopinesque charm. The Rondo theme is just impossible to dislike. I would also praise the Nocturne Op. 71, a tranquil and evocative one of considerable length.



Bottom line: Not one "famous" work of Moscheles, like his Etudes, makes an appearance on this recording. However, almost all of these pieces are exquisite gems in the late-Classical early-Romantic style. Moscheles is clearly influenced by a plethora of different composers: Mozart here, plenty of Beethoven there, and even some Chopin and Thalberg elsewhere. But the results of these influences have produced outstanding compositions like the Sonate melancolique, Souvenir de Rubin and Grosse Sonate Op. 41."