Ignaz Moscheles: Piano Concerto No. 7 in C minor, Op. 93 'Concert Pathétique'
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- Опубліковано 9 лип 2024
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Ignaz Moscheles (1794-1870)
Piano Concerto No. 7 in C minor, Op. 93 'Concert Pathétique'
I. Allegro maestoso e moderato 0:00
II. Allegro agitato - Andante espressivo - Allegro agitato, tempo I - Andante tempo I - attacca - 13:41
III. Allegro con brio 18:12
Sinfonia da Camera
Ian Hobson, piano/conductor
Dedicated to his friend, Giacomo Meyerbeer
(Isaac) Ignaz Moscheles (1794-1870) was a Bohemian composer and piano virtuoso, whose career after his early years was based initially in London, and later at Leipzig, where he joined his friend and sometime pupil Felix Mendelssohn as Professor of Piano at the Conservatoire. Moscheles was born in Prague on May 23, 1794, to an affluent German-speaking Jewish merchant family. His first name was originally Isaac. His father played the guitar and was keen for one of his children to become a musician. Initially his hopes fixed on Ignaz's sister, but when she demurred, her piano lessons were transferred to her brother. Ignaz developed an early passion for the (then revolutionary) piano music of Beethoven, which the Mozartean Bedřich Diviš Weber, his teacher at the Prague Conservatory, attempted to curb, urging him to focus on Bach, Mozart and Muzio Clementi. After his father’s early death, Moscheles settled in 1808 in Vienna. His abilities were such that he was able to study in the city under Albrechtsberger for counterpoint and theory and Salieri for composition. At this time he changed his first name from 'Isaac' to 'Ignaz'. He was one of the leading virtuosi resident in Vienna during the 1814-1815 Congress of Vienna and it was at this time that he wrote his enormously popular virtuosic Alexander Variations, Op. 32, for piano and orchestra, which he later played throughout Europe. Here too he became a close friend of Meyerbeer (at that time still a piano virtuoso, not yet a composer) and their extemporized piano-duets were highly acclaimed. Moscheles was also familiar with Hummel and Kalkbrenner. While in Vienna Moscheles was able to meet his idol Beethoven, who was so impressed with the young man's abilities that he entrusted him with the preparation of the piano score of his opera Fidelio. Moscheles's good relations with Beethoven were to prove important to both at the end of Beethoven's life. After his Viennese period there followed for Moscheles a sensational series of European concert tours-it was after hearing Moscheles play at Carlsbad that the boy Robert Schumann was fired to become a piano virtuoso himself. But Moscheles found an especially warm welcome in London, where in 1822 he was awarded an honorary membership of the London Academy of Music, and he had no hesitation in settling there after his marriage. Moscheles visited most of the great capitals of Europe, making his first appearance in London in 1822, and there securing the friendship of Muzio Clementi and Johann Baptist Cramer. Moscheles was also a student of Muzio Clementi. In March 1823 Moscheles paid a long visit to Bath in Somerset and started work on his Piano Concerto No. 4 (Op.64). The concerto had its first performance, in London, shortly afterwards, on 16 June. Before that however in 1824 he had accepted an invitation to visit Abraham Mendelssohn Bartholdy in Berlin to give some lessons to his children Felix and Fanny. Although throughout this period Moscheles continued to write music and travel on concert tours, he depended heavily on teaching for income, and this placed him under considerable stress. When therefore Mendelssohn established a Conservatory at Leipzig in 1843 he was keen to attract his friend Moscheles there as a colleague, promising him ample time in his schedules for concertising and music-making. After several years, Moscheles gladly accepted the position in 1846. He became a longstanding and prominent member of the Conservatory faculty, teaching piano there for several decades. Moscheles died in Leipzig on 10 March 1870, nine days after attending his last rehearsal with the Leipzig Gewandhaus Orchestra.
Thank you for posting the music of Isaak Moscheles, a musician with a great heart.
Quelle belle découverte que ce 7 e concerto de I Moscheles après sa symphonie et son autre concerto 3 e . Hobson un grand pianiste trop peu connu !
The musical family of the Romantic era seem all to be highly connected, with considerable influence on each other. Some are more well known than others, but many "unknowns" produced great works. This is one of them. Very enjoyable.
Moscheles is mostly known because of a few Chopin etudes, ironically
it's really wonderful that pianists like Ian Hobson endeavored to record such little known compositions from the concerto piano repertoire -- goodness knows how tiring it is to hear Liszt 1, Brahms 1, Chopin 1, Tchaikovsky 1, Grieg and Schumann, and so on, over and over.
you forgot Rachmaninov and Prokofiev
I quite agree! On the local radios they mostly play the same "stuff" you mentioned!
@@coralreef909 Rachmaninov 2 and Prokofiev 3 I suppose ? and we forgot too Saint-Saens 2, Moscheles 3, Rubinstein 4, Hummel 2 etc.
And Mozart 21, that one is overplayed too
I quite agree with you, I am fed up with the same piano concerts all the time, these unknown composers should be also played. It is about time piano concertos change a bit their repertoire!!!!!!!
"Schumann galvanized by Moscheles"....how Wondrous....Excellent concerto, thanks!
The intro is promising! Great intro---kind of a cross between Beethoven, Mozart and mendelssohn. I just hope he(Moscheles) doesn't ruin it with endless showy scales, like he seems to do with a lot of his other music I have heard. Thanks for loading this tho! SO nice to hear something different from this era.
"Pathetic??" Rather, joyful, I would say, and one of Moscheles' most delightful and original Piano Concerti. It's a bit "scale-y" perhaps, but none the worse for that, and the dramatic opening measures and piano entrance are quite original and command attention. And the brief second movement with its contrasting insouciant first subject alternating with its touching second subject (a melody that might well have given Paul Dukas an idea for his more famous work) is very effective indeed.
Its not english meaning of the word. From Quora:
“Pathetique” is a French word and means passionate or emotional.
bravo!
You can be a famous pianist by playing this wonderful piece too.
Bravo brilliance music concerto
Thank you Prof. Johann for this wonderful "new" work.....BRAVO from México!
Like the first light of twilight, this music opens your eyes to old promises and to all the anomalies of nature. Evocative of powers beyond observation, these pieces pull the strings of the heart, attract nostalgia and awaken regrets, flayed lives and the torpor of tormented watchers
Yep!
좋습니다.
masterpiece with a moist romance
Велика подяка за можливість знайомитись з цими творами. Вони ніколи не виконуються в концертах. Але бажано вказувати призвища виконавців. В коментарях тільки іноземні слухачи. І це жаль. Браво!
I wonder how familiar he was with Mendelssohn's work and vice versa
He "taught" Mendelssohn in Berlin. Mendelssohn composed the second of his two concertos for two pianos to play with Moscheles on the other piano. Mendelssohn called Moscheles out of London to come teach in Leipzig after Moscheles smoothed the way to have Mendelssohn visit England. My guess us they were pretty familiar with each other.
nice
Un concerto di indubbio fascino e interessante, di primo Romanticismo,al di là del termine 'Patetico' di riferimento.Hobson per me,non ne valorizza completamente le latenti potenzialità ...un po' troppo lungo e poco 'energico', che sarebbe stato invece con qualche minuto in meno ma con più' brillantezza.
Dont lije this one at all...