In his day, Moritz Moszkowski was a famous and well-respected musician. He was an accomplished pianist who performed extensively across Europe, and as a highly sought-after teacher, he influenced generations of future piano virtuosos.
Moritz Moszkowski
100 years after his passing on 4 March 1925, however, the musical world has seemingly all but forgotten him. Moszkowski composed various genres, but he was best known for his brilliant piano showpieces. As such, he is still classified as “a polished salon music composer, who brought nothing original to the table, and who wrote music that others had written better before him.”
Moritz Moszkowski: Spanish Dances, Op. 12 No. 1
Two-hit Wonders
Moritz Moszkowski’s Serenata
Much admired by Franz Liszt, Moszkowski’s works often display a perfect blend of technical brilliance and expressive depth, reflecting the musical trends of the late 19th century. It was Ignacy Paderewski, after all, who famously wrote that “after Chopin, Moszkowski best understands how to write for the piano.”
Moszkowski was married to the sister of Cécile Chaminade, and the popular couple were well-connected in Paris and generous in their help of other musicians. And let’s not forget that Moszkowski was very wealthy indeed. Early in his career, he composed two pieces of music that could be found in every piano stool in the lands: his Serenata Op. 15, No. 1 and the Spanish Dances Op. 12 for piano duet.
Moritz Moszkowski: 6 Stücke, Op. 15, No. 1 “Serenata” (Ian Hobson, piano)
Prodigious Talent
Moritz Moszkowski was born in 1854 in Breslau (now Wrocław, Poland) into a wealthy Polish-Jewish family. His early exposure to music, coupled with basic home tuition, led to his formal music education starting in 1865 after his family moved to Dresden. In 1869, they relocated again to Berlin, where Moszkowski studied at prestigious institutions.
At Julius Stern’s Conservatorium, he learned piano from Eduard Franck and composition from Friedrich Kiel. Later, at Theodor Kullak’s Neue Akademie der Tonkunst, he received further piano instruction from Kullak himself, and studied composition under Richard Wüerst, a Mendelssohn student.
Moritz Moszkowski: 8 Morceaux caractéristiques, Op. 36 (excerpts) (Seta Tanyel, piano)
First Compositions
Moritz Moszkowski
Throughout his education, Moszkowski formed close friendships with fellow students, and his early years were marked “by a blend of significant academic training and an evolving compositional voice, which would subsequently lead to his recognition as a composer and pianist.”
At the tender age of seventeen Moszkowski was invited to join the teaching staff at the Kullak Akademie, and he made his successful debut as a pianist in 1873. In the same year, Moszkowski saw the publication of his first work, a rather modest Mazurka. However, the youthful composer thought highly enough of this work to have it subsequently published as the third of his four Skizzen, Op.10, in 1876.
Moritz Moszkowski: Skizzen, Op.10 (Ian Hobson, piano)
Piano Concerto No. 1
During his years of studies, Moszkowski composed several early works, including a piano quintet, an overture, and a symphony, though none were published. His most significant early composition was his Piano Concerto in B minor, Op. 3, likely began in 1873.
The work was only rediscovered in 2011 and first published in 2013. Exhibiting a sense of refined contrast and balance, not to mention a multitude of gorgeous melodies, Moszkowski wasn’t entirely happy with his effort. In response to a request for an autobiography, Moszkowski replied, “I should be happy to send you my piano concerto but for two reasons: first, it is worthless; second, it is most convenient for making my piano stool higher when I am engaged in studying better works.”
Moritz Moszkowski: Piano Concerto in B minor, Op. 3 “Allegro”
Violin Concerto
Talking about concertos, Moszkowski’s Violin Concerto was dedicated to the renowned French violinist Emile Sauret, who premiered the work in 1883. It is a substantial composition in three movements, demanding great virtuosity without prioritising technical display over musical expressions.
The opening movement is reminiscent of Mendelssohn and presents a sweetly lyrical tune. Granted, there is plenty of passage work and a bit of passion, but the strength of the composition is found in the central “Andante.” Sounding like a blend of Max Bruch and Edward Elgar, the mediative sweet memories are recalled in wonderful sweeps of weeping nostalgia. And, of course, the finale is a rather joyous affair, with Moszkowski balancing technical virtuosity with emotional depth.
Moritz Moszkowski: Violin Concerto in C Major, Op. 30 (Tasmin Little, violin; BBC Scottish Symphony Orchestra; Martyn Brabbins, cond.)
Piano Concerto No. 2
Moritz Moszkowski’s Piano Concerto, Op. 59
Of all the melodious and elegant concertos of Moritz Moszkowski, the Piano Concerto in E, Op 59, “most strongly begs for revival.” It is not an easy work, but “its grateful pianistic writing, its memorable themes and its sunny optimism make its present neglect quite incomprehensible.”
One critic famously wrote, “it fails to stir the intellect, but it sets the pulses tingling.” The work is dedicated to the great pianist Josef Hofmann and features four movements. To be sure, it was highly popular in the early 20th century, frequently performed by major orchestras and pianists.
The piece unfolds with a dramatic first movement, followed by a nocturnal, expressive second movement featuring a clarinet and bassoon intro. The third movement is lively and sparkling, while the finale builds to a powerful climax, revisiting themes from earlier in the composition. It is a lovely example of a virtuosic and expressive Romantic piano concerto desperately in need of a 21st-century champion.
Mortiz Moszkowski: Piano Concerto in E Major, Op. 59 (Michael Ponti, piano; Philharmonia Hungarica; Hans Richard Stracke, cond.)
Health Problems
Beginning in the mid-1880s, Moszkowski started to face health problems with neuropathy limiting his piano performances. His focus gradually fell on composing, teaching, and conducting, and he gained substantial recognition in England. At the height of his fame and considerable wealth, he moved to Paris in 1897 and became a highly-prized piano teacher.
He counted Vlado Perlemuter, Josef Hofmann, and Wanda Landowska among his piano students, and he also taught orchestration to the young Thomas Beecham in 1904.
Moritz Moszkowski: 6 Phantasiestücke, Op. 52 (excerpts) (Etsuko Hirose, piano)
Lost in the Wake of Innovation
Moritz Moszkowski’s Etude melodique
However, as the 20th century progressed, Moszkowski’s popularity waned because he declined to participate in avant-garde trends. By 1908, he had become a recluse after suffering a number of personal tragedies, including his divorce and the death of his daughter. In addition, he unwisely had invested the larger part of his considerable fortune in German and Russian securities, which became worthless at the outbreak of the Russian Revolution and the First World War.
Moszkowski did receive some financial aid and money from royalties, but he essentially spent his last years in poverty. As Martin Eastick wrote, “a grand testimonial concert was arranged on his behalf at Carnegie Hall in New York on 21 December 1924 by a number of his former friends and colleagues. However, Moszkowski died of stomach cancer on 4 March 1925, before he could benefit from the proceeds.
Moritz Moszkowski: 15 Études de virtuosité, Op. 72, No. 11 “Per aspera” (Mikhail Pletnev, piano)
Legacy
Moritz Moszkowski’s legacy as a composer and pianist endures as a testament to the vibrancy and virtuosity of late Romantic music. Renowned during his lifetime for his dazzling piano works, Moszkowski captivated audiences with his blend of technical brilliance and melodic charm, earning high praise from his contemporaries.
The shifting musical tides of the 20th century that favoured modernist experimentation over Romantic lyricism, relegated his works to relative obscurity. However, his compositions remain a treasure trove for pianists seeking to showcase dexterity and elegance. Moszkowski’s legacy is one of rediscovery, as performers and scholars alike revisit his oeuvre, recognising its enduring appeal and its place within the rich tapestry of 19th-century musical culture.
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