Moritz MOSZKOWSKI (1854-1925)
Orchestral Music - Volume 2
Deuxième Suite d’Orchestre, Op. 47 (1890) [41:06]
Troisième Suite d’Orchestre Op. 79 (1908) [26:54]
Sinfonia Varsovia/Ian Hobson
rec. 12-13 October and 4-7 November 2019, Witold Lutoslawski Concert Studio, Polish Radio, Warsaw
TOCCATA CLASSICS TOCC0557 [68:00]
Toccata Classics search out forgotten corners of the repertoire
from many periods of musical history. It is the 19th Century
offers that more than one can calculate in composers either remembered,
like Moszkowski, for just a few pieces, or not remembered now but popular
during their lifetimes. You may know the odd piano piece, or you may
have come across the composer’s Spanish Dances either
in the original version for piano duet or in an orchestrated form. I
have, in fact, conducted amateur orchestras in such a version.
Volume 1 consisted of one work, Moszkowski’s hour-long symphonic
poem Joan of Arc Op. 19 (TOCC 0523). That volume has passed
me by, but with editions made available by composer (and author of booklet
notes) Martin Eastick the band waggon marches on; we now have two orchestral
suites. In tandem with Ian Hobson and Toccata Classics, there is a gang
of strong advocates for this almost forgotten composer.
At first, I thought it odd that here was a composer writing orchestral
suites instead of symphonies, but this form did allow him a free imaginative
rein. He seems to me to be have been happier writing miniatures but
had a drive to write ‘big’ because he was conscious of what
composers of the period were supposed to do (he did complete one juvenile
symphony which has yet to be performed). Take the Second Suite as a
starting point. We have a solemn Prelude which leads into a fine fugue.
There follows a quicksilver Scherzo and then a heartfelt, lyrical and
wonderfully inspired Larghetto, lightened afterwards by a delightful
Intermezzo in the form of a Minuet and Trio. There follows the finale
marked Marcia which is amazingly Elgarian, especially its sweeping second
subject. Each movement is then an attractive miniature but clothed in
the seriousness of a large orchestra. The whole amounts to a substantial
work, but one which never quite connects. One feels that it would be
perfectly acceptable just to play a couple or three contrasting movements
and still have a satisfactory format. The influences seem to me to be
more of Mendelssohn and the one-time very popular Joachim Raff than
Wagner with whom Moszkowski was often linked in his lifetime.
But, in this Suite, the composer creates an almost bewildering sense
of colour in his material. That includes melody and highly imaginative
orchestration. Indeed, Thomas Beecham no less went to him for instruction
in scoring. Moszkowski also shows an (important) ability never to outstay
his welcome.
Whereas the well-liked Second Suite was composed at a period of great
success for Moszkowski, his star was rather on the wan, never to return,
when the Third Suite emerged eighteen years later. By 1908, he was becoming
something of a recluse, but his circumstances are not perhaps reflected
in this shorter, four-movement work, as he was now settled happily in
Paris. The opening movement, a genial Allegro, shows no signs of pain
or anguish as it moves along with a considerable and confident sense
of direction. Movement two, marked molto moderato, is subtitled ‘La
note obstinée’ and this refers to a pedal C (the dominant of the
F major key which governs the movement) repeated throughout on the horn
and harp. The Tempo di Valse third movement could, as the composer suggested,
stand alone, and it is charming and tuneful. The finale seems to me
to use rather second-rate material. It is held together only via a demonstration
of an experienced technique and vivid orchestration. The final bars
bring back the fanfare ideas from the opening of the first movement.
Toccata Classics has a distinct house style in the production of its
booklets, which are consistently outstanding. We are treated to a fascinating
biographical section on the composer, and then a full analysis (not
too technical) on each of the movements, all written by expert Martin
Eastick. Sinfonia Varsovia led by Ian Hobson, a tremendously versatile
pianist and composer, capture the music with élan. The recording is
clear and vibrant. As far as I can tell, the performances are ideal.
They allow the music its best chance of finding an appreciative audience.
Gary Higginson
Previous review: Jonathan
Woolf
