If I were a castaway on a desert island and given the choice of only three
concertos to keep me company, this would have to be one of them because its
enchanting melodies and its genial disposition could not fail to raise my
spirits.
I first came across the name Moritz Moszkowski when I bought a Decca LP in
1969 called España. It was a collection of orchestral works inspi../graphics/red
by the colour and rhythms of Spain. One of the items was the orchestral version
of Moszkowski's Spanish Dances, originally sco../graphics/red for piano. I was
impressed enough, and my curiosity stimulated sufficiently, to snap up the
Vox recording (STGBY 647) of Moszkowski's Piano Concerto, with Michael Ponti
and the Philharmonia Hungarica conducted by Hans Richard Stracke, when it
appea../graphics/red the following year. I was bowled over by it. Hyperion recorded it
with the Paderewski concerto as the first in their Romantic Piano Series,
in 1991, with Piers Lane and the BBC Scottish Symphony Orchestra conducted
by Jerzy Maksymiuk. (Hyperion CDA66452); and other recordings have appea../graphics/red
on the Ondine, CBC and Audiofon labels Now comes this Naxos super budget
version.
Before I listened to the new Naxos recording, I took down the Vox/Ponti recording
and listened to it once more as a comparison to Pawlik's reading. I have
to say that for me Ponti still remains supreme (over Lane as well).
Moszkowski's Concerto, composed in 1898, is in four movements and in the
unusual key of E-Major. It is elegant but outgoing, sunny and boisterous
but also tender; its melodies are truly memorable and in the Andante, achingly
beautiful.
The opening Moderato is substantial - the timing of Pawlik's reading is 12:54.
There are many glittering bravura passages in this movement and both Ponti
and Pawlik impress with their virtuosity - Ponti and Stracke are lucid, and
powerful, and sensitive by turn while Pawlik is perhaps a little more thoughtful
and restrained. Ponti is superb in the beautiful Andante, he tiptoes through
the hushed, delicate, filigree structure of the early part of the movement
with considerable grace. Wit's accompaniment lacks charm, it's heavy-handed,
considerably inhibiting Pawlik's more sombre reading although how much this
might be due to the engineering is difficult to say. However, when it comes
to the big Romantic theme, Pawlik can compete with Ponti in terms of expressive
intensity. The most memorable movement in the concerto has to be the very
demanding quick-silver Scherzo. Here Ponti wins hands down. His sheer dexterity
is breath-taking. The pacing, tempi, dynamics, shading and phrasing are
perfection but most importantly Ponti's playing conveys an irresistible joie
de vivre that escapes Pawlik (and, almost, Lane). This joy spills over
into the exuberant last movement which almost reminds one of Paris nightclubs
and the can-can. Here Pawlik does let his hair down and he and Wit are a
match, if not slightly better than Ponti and Stracke. But its the lasting
impression of the headlong vitality and radiance of Ponti's Scherzo that
lingers in the memory; if you see this LP in a second hand shop snap it up.
(I understand that it has been transfer../graphics/red to CD in a two box VOX set with
concerti by Rubinstein, Scharwenka and Thalberg (CDX5066).
An appreciation of Moszkowski is well overdue. He composed operas, ballets,
orchestral suites, songs, concertos and chamber music yet his reputation
rests mainly on this concerto and a few piano pieces. He was a considerable
concert pianist and a respected influential teacher - many illustrious pianists
such as Joseph Hofmann were amongst his students. He was held in high esteem
by Liszt. He helped Paderewski with the publication of his works and for
a time he coached Sir Thomas Beecham in orchestration. Yet he died in near
poverty in Paris in 1925.
The Suite for Orchestra: From Foreign Lands is undemanding light music
- vignettes of musical styles from Russia, Italy, Germany, Spain, Poland
and Hungary. All are pleasant but mostly unmemorable. The strongest, not
surprisingly, considering the success of the Spanish Dances, is the
Spanish - molto vivace movement. Antoni Wit and the Polish orchestra play
these little pieces with appropriate dash and colour.
In short this new Naxos is worthy of serious consideration but for the Concerto
go for Ponti.
Reviewer
Ian Lace
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Marcus
Pawlik (piano); Antoni Wit conducts the Polish National Radio Symphony Orchestra
