Ignaz Moscheles - Alexander Variations for Piano and Orchestra Op.32
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- Опубліковано 14 кві 2021
- Ian Hobson/Sinfonia da Camara
Ignaz Moscheles (1794-1870) was a Bohemian Composer and Pianist. 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. He also studied later in Vienna with Albrechtsberger and Salieri. During his time in Vienna he wrote his then most popular work, Alexander Variations Op.32 for Piano and Orchestra.
Moscheles was also familiar with Hummel and Kalkbrenner. Moscheles was also familiar with Hummel and Kalkbrenner. Among the virtuosi of the 1820s, Hummel, Kalkbrenner, Cramer, Herz and Weber were his most famous rivals.
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, commissioned by his publisher Artaria.
It was after hearing Moscheles play at Carlsbad that the boy Robert Schumann was fired to become a piano virtuoso himself. His Piano Concerto No.3 had its Warsaw Premiere under 16 years old Chopin in 1826.
Felix Mendelssohn was a student of Moscheles.
Among his 142 opus numbers, Moscheles wrote a number of symphonic works. Apart from an overture, a ballet and a symphony, all are scored for piano and orchestra: eight piano concertos (of which the last is in fragmentary form only, no orchestral parts having survived) and sets of variations and fantasias on folk songs. Moscheles also left several chamber works (including a piano trio that has been recorded), and a large number of works for piano solo, including sonatas and the études that continued to be studied by advanced students even as Moscheles's music fell into eclipse. Chopin's 3 Nouvelle Etudes were contribution to Moscheles's Méthode des méthodes de piano.
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The performers are:
Sinfonia da Camera
Ian Hobson, piano/conductor
These variations were written by Moscheles on the theme of the March of the French author Louis-Luc Loiseau de Persuis, written by him among many other similar marches created on the occasion of the entry of the Allied troops into Paris and the overthrow of Napoleon Buonoparte in 1814. Here is a link to the performance of this march itself: ua-cam.com/video/Yw6n_ms1tkc/v-deo.html
Among other marches, this march was performed in the presence of the All-Russian Emperor Alexander the First and he especially liked it, which is why it received the name Alexander March. Moreover, this march was assigned (that is, made a regimental march) to the Imperial-Royal Austrian Second Infantry (Hungarian) Regiment of Emperor Alexander I, whose chief was Alexander the First himself.
At the same time, it is pointed out that this march borrows from the music of the march from the 1812 ballet “The Shy Knight or the Power of Women” (“Der blöde Ritter oder: die Macht der Frauen”) by Duport. (The German word “blöde” has many meanings and can also mean “mindlessly cheerful”, “laughing for no reason”, “stupid”, “feeble-minded”, but for the name of the ballet, it seems to me, it is better to choose “shy”). Perhaps he is referring to one of the two Duport brothers, French cellists and composers? Jean-Pierre Duport was especially active in the composing field. Unless, of course, in this case Duport is not the name of the choreographer. But I don’t know the music of this ballet, and therefore I cannot assess the degree of borrowing.
Very nice work
Rule n.1: if there Is a stupid theme, the Variations are incredible.
@Rexy Arietta con variazioni, last piano sonata.
The theme is not stupid . Why it would even be ?
Astonishing chromaticism and machine-like virtuosity. Premonitions of Ligeti's etudes.
Alexander March variations in F major