Moszkowski: Étude Op.72 no.6 in F major

Moritz Moszkowski (1854-1925) was a Prussian-Jewish (was born in Breslau, Prussia - what is now Wroclaw, Poland) composer, pianist and devoted piano professor of the Romantic Era. He studied with great piano teacher  Theodor Kullak, and received education in composition from Friedrich Kiel. Later, Moszkovski would become professor at the Neue Akademie der Tonkunst, founded by Kullak. He composed a piano quintet at the age of thirteen, and at nineteen played his début concert.

Moszkowski is best known for his piano works (he composed over two hundred piano pieces), but also composed large-scale works such as the Piano Concerto in E major, Op.59, three orchestral suites (Opp.39, 47 and 79), a symphonic poem (Jeanne d’Arc, Op.19) and an opera (Boabdil der letze Maurenkönig, Op.49).

He was quite prolific as far as his piano works are concerned. Among his main piano compositions are the world famous Serenade (Op. 15a Serenata, for piano duet - after Op. 15/1) , his set of Spanische Tänze (Spanish Dances) Op.12 [5] for piano duet,  and the Études de Virtuosité  Op.72 (comprising 15 studies), a rather showy collection of pieces written for virtuoso pianists. Other well known piano pieces are the brilliant Étincelles (Sparks).

Moszkowski’s compositional style finds its roots in the early Romanticism of Chopin, Mendelssohn and Schumann. His melodic shapes have gradually evolved into more imaginative, clearly-defined, striking and beautiful melodies. In his best piano works, his harmonic motion is controlled so as to place ‘harmonic surprises’ at melodic crisis spots – reason why his music is many times deemed ‘piquant’. He composed in a way that exploited the full possibilities of the piano keyboard – which suggests he was an outstanding improvisor.

His studies are not only designed to address especific technical problems; they are also designed to express a dramatic situation or a poetic sentiment, exploring the lyrical and singing qualities of the piano. Therefore, they are aimed at achieving the instrument’s  full expressive potential.

Other features of Moszkowski’s pianistic works are the use of diatonic/chromatic scale patterns, repeated notes, double notes, octaves and broken and arpeggiated chords.

In the Étude displayed below – the Op.72 no.6 in F major – Moszkowski graciously weaves both diatonic and chromatic scale patterns, whilst the piece sets off the singing qualities of the piano. Arpeggiated chords are also noticeable throughout the piece, played alternatively by left hand and right hand.

Performed by great Vladimir Horowitz. Enjoy!

http://www.youtube.com/watch?v=K78vuNYXzS4