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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 to be 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.
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 to be 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.
5060113446602

Details

Format: CD
Label: Toccata
Rel. Date: 10/07/2022
UPC: 5060113446602

More Info:

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 to be 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.
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