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Moritz Moszkowski: Complete Music for Solo Piano, Volume Two
Although Moritz Moszkowski (1854–1925) wrote a considerable quantity of piano music, only a single piece, ‘Étincelles’, made it into the repertoire, not least because Horowitz enjoyed playing it. The early works on this second instalment in Ian Hobson’s survey of Moszkowski’s complete music for solo piano reveal a debt to Mendelssohn and Schumann, but the effortless craftsmanship heard here already justifies a later remark of Paderewski’s: ‘After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique’. Most of the pieces in Opp. 15 and 18 are attractive salon miniatures, but the Three Piano Pieces in Dance Form, Op. 17, are extended Lisztian essays that showcase Moszkowski’s mastery of the keyboard and his command of form.
Ian Hobson, piano
Moritz Moszkowski: Complete Music for Solo Piano, Volume One
Moritz Moszkowski (1854–1925) wrote a considerable quantity of piano music, but it is generally remembered today only for a single piece, ‘Étincelles’, which Horowitz enjoyed playing. The early works on this first instalment in Ian Hobson’s survey of Moszkowski’s complete music for solo piano reveal a debt to Mendelssohn and Schumann, but the craftsmanship already justifies a later remark of Paderewski’s: ‘After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique’.
Ian Hobson, piano
Moritz Moszkowski: Orchestral Music, Volume Three
The Polish composer Moritz Moszkowski (1854–1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for a century or more. This third volume presents his very first orchestral work, a strikingly assured Overture in D major, written when he was seventeen, and his last, a sombre, dignified and deeply felt Prelude and Fugue for strings, composed on the death of his mother in 1910. Between them comes Moszkowski’s First Orchestral Suite, from 1885, a joy from start to finish, with one delightful inspiration following another in a daisy-chain of dance-rhythms, memorable tunes and instrumental colour.
Sinfonia Varsovia
Ian Hobson, conductor
Andrzej Krzyżanowski, flute (Track 8)
Moritz MOSZKOWSKI: Orchestral Music, Volume One
The Polish composer Moritz Moszkowski (1854–1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for decades. Astonishingly, he was only in his early twenties when he wrote his monumental ‘Symphonic Poem in Four Movements’ Johanna d’Arc – heard here in its first recording – a vast symphonic fresco depicting the life, death and transfiguration of the heroine of Friedrich Schiller’s 1801 play, Die Jungfrau von Orleans. Moszkowski admitted to the influence of Wagner and Raff on the work – but he also managed to prefigure the musical language of the Hollywood epics of sixty years later.
Sinfonia Varsovia
Jakub Haufa, solo violin (Tracks 1, 4)
Ian Hobson, conductor
A Diaposon découverte
Moritz MOSZKOWSKI: Orchestral Music, Volume Two
The Polish composer Moritz Moszkowski (1854–1925) is best remembered for a handful of virtuoso piano pieces, but he also produced a substantial body of orchestral music, most of it unperformed for a century or more. The first volume in this first-ever survey of his orchestral output presented the monumental ‘Symphonic Poem in Four Movements’ Johanna d’Arc – a vast symphonic fresco depicting the life, death and transfiguration of the heroine of Schiller’s 1801 play Die Jungfrau von Orleans – and drew a warm welcome from the musical press. These two big-hearted Suites continue that process of discovery, opening a treasure chest of gorgeous melody and sumptuous orchestral writing that make these forgotten gems irresistibly attractive.
Sinfonia Varsovia
Ian Hobson, conductor
First recordings
Postcards from Ukraine, Volume Three: Folk Dialogues
The first album of Postcards from Ukraine gave a potted history of Ukrainian music in the form of a series of miniatures for piano and violin, and the second presented four outstanding chamber works by important Ukrainian composers. This third instalment brings six new arrangements of Ukrainian folksongs, for violin and piano, by Markiyan Melnychenko, integrating them into a programme of folksong and -dance arrangements by some of his best-known virtuoso predecessors.
Markiyan Melnychenko, violin
Steward Kelly, piano
Toccata Pipeline
Havergal BRIAN: Complete Choral Songs, Vol. 2 Joyful Company of SingersPeter Broadbent, director First Complete RecordingTOCC 0680 Moritz MOSZKOWSKI: Orchestral Music, Vol. 4 Symphony in…