Tchaikovsky’s “Grand Sonata” was written at the same time as his violin
concerto. The composer described it as “one of the least lovable of my
children”. This is not true; any time the harshly self-critical Tchaikovsky
was not fond of a piece, you know it will be good, while any time he
admitted one of his works had any merit, you know it will be great.
The sonata is out of character for him, however. Aside from a slow
movement which, at times, recalls the early symphonies and the
Hamlet fantasy, the work is confident, blustery, even stylish. The
striking beginning sticks in the memory, as one of the most untroubled
moments in all Tchaikovsky’s music. The scherzo would fit handily into the
ballets, or into an album of Moszkowski.
As rare as this sonata is, Joseph Moog boldly gambles by making it the
most popular work on his programme. The other big piece is Xaver
Scharwenka’s second sonata. You might have heard
Scharwenka’s concertos in the Hyperion Romantic Concerto series or
the
new Chandos set; the label also has his
complete chamber music. The Sonata No. 2 is a confident,
capable piece in four movements, with a dark scherzo that brings to mind
Chopin’s sonatas. The second tune in the finale sounds a lot like “Hail to
the Chief”. A critic quoted in the booklet complains that the piece is
sentimental, and it is, but it’s also tuneful, a huge pleasure on the ears,
and the perfect length at just 25 minutes. There is only one other
recording, part of Seta Tanyel’s complete 4 CD survey of the composer on
Hyperion
Helios.
Along with the two big pieces, Moog offers about ten minutes of encores,
two by each composer. Throughout the recital his playing is confident,
virtuosic and sympathetic to the composers’ styles. Recorded sound is rather
close, but with no sacrifice in colour or grandeur. All told, this is Moog’s
best album since his solo debut, “Divergences”, a recital of Scriabin, Reger
and Jongen on the Claves label. He also has a great recording of
Anton Rubinstein’s Fourth Concerto to his credit.
Moog is really creating a niche for himself as an explorer of good but
forgotten music from the late-romantic era. Whatever is next, I’ll be
listening.
Brian Reinhart
