Moritz MOSZKOWSKI (1854-1925)
Orchestral Music - Volume Three
Overture in D major (1871-1872) [7:37]
Première suite d’orchestre in F major, Op 39 (1885) [42:07]
Prélude et fugue pour orchestre à cordes, Op 85 (1910) [11:00]
Sinfonia Varsovia/Ian Hobson
rec. October-November 2019, and June 2021, The Witold Lutosławski Concert Studio, Polish Radio, Warsaw, Poland
TOCCATA CLASSICS TOCC0598 [60:27]
Hurrah! More Moszkowski from the ever-enterprising Toccata team. The disc begins with his earliest orchestral work, a confident, muscular brief overture, brimming with excellent tunes and nicely orchestrated. It is perhaps not especially memorable, but this fun little piece makes full use of the orchestra and contains many of Moszkowski’s trademark cheerful melodies. Not at all bad for the work of a 17 or 18 year-old! The recording is very clear, the conducting is well attuned to the music and the playing is excellent.
The multipartite First Suite for orchestra, written over a decade later, is much longer, with five movements, among them a set of variations. The opening movement is a boisterous Allegro molto e brioso, full of good humour and jollity, typically Moszkowskian. (Is that a word? If not, it should be!) There is some lovely orchestral writing along the way – the second subject has a yearning quality; this can be heard especially about two minutes in. I am reminded strangely of early Richard Strauss in how the first movement is put together – maybe because the horns have quite a lot to do at various points. There is a nice contrast between the various parts of the work, and it is all conducted with a nice eye for the detail. Overall, it is a nicely balanced opening with plenty of memorable tunes and some clever orchestration.
The following Allegro giojoso is again happy but has a very odd opening. It reminds me strongly of the beginning of the theme to the TV series “Jeeves and Wooster” (the version with Hugh Laurie and Stephen Fry, as also mentioned in the notes). The movement then heads off in a different direction, has plenty of swing and bounces along very nicely. This really is cheerful stuff, guaranteed to make you smile. There is plenty of Tchaikovsky-like pizzicato work for the strings, and they seem to relish thos joyous music. Again, the orchestration is full of crafty details and Moszkowski makes full use of all the instruments, including some rather fun percussion writing. The conducting is spot on and suits this repertoire perfectly. On repeated listening, this fun movement is my favourite part of the disc, due to its merry nature and clever use of the full orchestra.
The longest movement starts with a genial Andante theme, then varied in eight ways, each with a different tempo marking and a lot of ingenious orchestration and diverse orchestral techniques. The first variation, Un poco più mosso (a little more movement), is an elegant, smoothed out version. The following one, Un poco meno mosso (a little less movement) is more bouncy, with some splendid woodwind work and interesting pizzicato strings. The forward momentum continues with variation 3 which turns the theme into a sort of march. Variation 4 is nice as the flutes take over and slide tastefully through the theme – full marks to them in this part! The following variation is in the form of a spirited Hungarian melody – a bit like Liszt’s Hungarian Rhapsody – and is full of colour and a variety of tempo directions. Variation 6 is an oasis of calm in the middle with more Strauss-like string writing and wonderful playing throughout. The penultimate variation, a jokey Allegro scherzando, starts with some very Tchaikovskian pizzicato (similar to the Andante third movement of his Fourth Symphony). This whizzes by at a fair clip and descends into the bass of the low strings before a bridging passage brings forth the opening theme. The finale is a repetition of the main theme again but with plenty of added details. Excellent stuff!
The fourth movement of the Suite is a far more restrained and delicate Intermezzo, serving as a slower movement. There is much charming writing, especially for the woodwinds, and the music meanders happily along almost in a “once upon a time” sort of storytelling vein. The writing for the horns and brass is quite restrained, in contrast to that in the opening movement. There is also less percussion than elsewhere and the atmosphere of the movement is far more restrained. The opening two minutes or so are generally happy but an interesting minor-key interlude takes up the middle section and, although dispelled, it keeps trying to come back, only to be interrupted by the opening music. The ending is rather beautifully orchestrated, quiet and calm with some exquisite playing by the flutes.
The work ends with a speedy Perpetuum mobile with plenty of work for the full orchestra, especially the percussion and strings. This is a wonderful creation, full of jovial themes, and it whizzes along at quite a lick. The opening momentum continues throughout this movement and the only hints of less happiness are the odd minor-key injections which act as a good contrast to the bombast and general cheerfulness of the piece. I defy you not to tap your feet while listening to this! The movement develops nicely through the just over six minutes and ends with a suitably rousing blast. Overall, the suite is a rather splendid, happy work with plenty of confident writing for all sections of the orchestra, and it is magnificently played and recorded.
The last work is the much later Prélude and Fugue for string orchestra, written after the death of the composer’s mother. The Prélude begins in a suitably sombre mood, as might be expected, but a more hopeful section about two minutes gives a nice contrast. I detect here hints of a tune similar to that from Moszkowski’s Second Piano Concerto but I cannot place exactly how or where. This more cheerful material then leads to a very anguished passage at about three minutes in, before the music turns more mournful as it draws to a close with some interesting pizzicato writing.
The Fugue seems to grow organically from the Prélude. It is also a tormented piece, made even more so with the use of strings alone. The theme on which the whole work is based, while rather jaunty, has an underlying affecting melancholy. As the work draws towards its conclusion, the playing becomes astringent and the tone lightens a little, and the piece ends on a slightly positive note. The orchestral playing and conducting throughout are committed and precise, and the clear recording helps bring out the details well.
I have been somewhat remiss in collecting this series: I need volume 2. Moszkowski’s early Symphony, dating from around the same time as the Overture should be on one of the forthcoming discs. I look forward to hearing that. The recording quality and general production values are up to Toccata’s usual high standards. The notes are very detailed, useful and interesting. I am very glad the label has decided to record this repertoire. Full marks to all concerned, and I look forward to volume 4!
Jonathan Welsh
Previous review: Jim Westhead
