Album insights
In the late 19th century, numerous piano concertos were composed, with only a handful remembered today. The well-known ones are played so often that it borders on monotony—Tschaikowsky's ubiquitous No. 1, Grieg's concerto, Saint-Saëns' 2nd concerto in G minor, and the two by Brahms. Pianists, concert organizers, and record companies stick to the familiar, playing it safe. Even a masterpiece can become an unwelcome guest when given an unremarkable rendition by a mediocre performer, a common occurrence nowadays.
It's refreshing to see two forgotten piano concertos from the late 19th century dusted off and spotlighted for review. These works inspire wonderment as to why such appealing, well-constructed, imaginative pieces with elevated moods and lush melodies have vanished from the repertoire. Why aren't these two delightful, catchy pieces performed more frequently, like Grieg's concerto or even in its place? Upon listening without bias, it becomes challenging to answer why the audience is seldom exposed to enjoying works like these. It's high time for those promoting and performing piano music to be more adventurous and imaginative in their programming before this specific repertoire falls into obscurity and mediocrity.
Paderewski once stated, “Next to Chopin, Moritz Moszkowski best understands how to compose for the piano,” indicating a connection beyond their artistry. Both were Polish, though Moszkowski was born in Breslau, the then-capital of Silesia. Their witty repartee resonates in musical history, showing their shared cultural background and intelligence.
Moszkowski, born in 1854 to a wealthy family, embarked on music lessons early, studying in Dresden and later under Theodor Kullak in Berlin. He made his concert debut at 19 in Berlin, leading to a successful career teaching, directing, and composing across Europe. By the time he settled in Paris at 43, he was a renowned, respected artist. Despite accolades, Moszkowski's life took a tragic turn, marked by personal losses and financial ruin during World War I, eventually succumbing to cancer in poverty.
Among Moszkowski's charming works, his Piano Concerto in E major, Op. 59, stands out for revival. Despite its length and technical demands on the soloist, its grateful piano passages, memorable themes, and sunny optimism make its current neglect baffling. While not profound, it does, as one author notes, “stir the pulse, if not the intellect.” Given a platform at a major music festival, it would surely receive enthusiastic applause, reasserting its place as a beloved concert piece, a position it held before World War I in Germany and Britain.
Paderewski's Piano Concerto in A minor, Op. 17, written by a then relatively unknown 28-year-old, creatively embodies his life's journey and emotional fortitude. The composition process, from its inception in Vienna post-triumph in Paris to a pivotal encounter with Saint-Saëns, epitomizes Paderewski's dedication and quest for recognition as a significant composer. The premiere, conducted by Hans Richter, highlighted the work's immediate success.
In closing, both Moszkowski and Paderewski left lasting legacies, their concertos emblematic of their artistic prowess and dedication to the piano. As Sir Thomas Beecham once remarked, these pieces exude refinement and sophistication, offering solace to musical enthusiasts, ensuring understanding and enjoyment in a world that may sometimes feel foreign and complex.