Search - Ludwig Berger, Ignaz Moscheles, Franz Liszt :: Berger/Moscheles/Liszt

OVER THE TOP ROMANTICISM--- BUT SUCH FUN! (Part 1)

Melvyn M. Sobel | Freeport (Long Island), New York | 08/30/2001

(5 out of 5 stars)

"The sonatas of Ludwig Berger (1777-1839) and Ignaz Moscheles (1794-1870) are so deliciously invested and brimming with everything-romantic that I can barely stifle a smile while playing them. If music can be "fun," then these resurrected treasures from the vaults of Genesis are worth their weight in sheer enjoyment!Just listen to the seriousness with which Berger opens his Grande Sonate, Op. 7: the minor chordal entry, the ominous trilling, the descending bass notes--- all heavy weather in a first movement (12:12) whose tempo indications look like a shopping list: Introduzione. Adagio. Allegro con fuoco. Adagio. Allegro. Egad! And all so Beethovenian, all so imposingly "meaningful" and impressive-looking that the stratagem of its pretense, heard today within our timeframe, is, well, simply a joy in itself. All the huff, puff and fluff merely a delight. In the Adagio patetico (11:20), however, Berger distills a purer and more lyrical construction, eschewing eager display, but still not too far from the heels of Beethoven (cf. his "Pathetique" Sonata, Op. 13). Nonetheless, it is a beautiful movement, worthy even of the great maestro. The Rondo (4:50), more Berger than Beethoven, comes as a pleasant refreshment after the weighty Adagio, and its coda caps a decidedly derivative, but entirely engaging sonata.Ignaz Moscheles' Sonata Caracteristique, Op. 27, diametrically opposite Berger's Op. 7, never really takes itself seriously (and is most certainly more akin to Hummel than Beethoven). The zesty opening Allegro (10:38) displays every ounce of "con brio" the composer can muster, completely upbeat and smiling. The Andante (7:32) is a lovely, soothing "barcarolle" decorated by variations that rise and fall, runs that titillate, and a quite sudden march-like, dotted statement that electrifies and surprises just before the movement ends as it began. The Rondo (7:14), although indicated "Tempo de Valse," but hardly seems so, is a joyous romp around the keyboard and a perfectly jovial conclusion to this cheerful work.And then.... there's Liszt (1811-1886)! Composer extraordinaire, legendary virtuoso, showman, musical intellect. The inclusion of his Grosses Konzertsolo (22:37) of 1851, while characterized by the greatest seriousness (and sounding almost like a parody of itself--- with bits and pieces reminiscent of the Hungarian Rhapsodies, the Annees de Pelerinage, and seminal motifs soon to be used in the B Minor Sonata) is the epitome of high romanticism (at its most rampant) and rightly concludes this CD with the most ear-filling and grandiose pianistic displays one could ever possibly wish for. Yet, even with this extended Liszt work--- the chorale-like interludes, the challenging transformation of themes, the wealth of perpetual melodic invention--- we still smile BECAUSE it's just so... Lisztian and, yes, fun to hear.There is no doubt, either, that pianist Frederick Marvin is having a rollicking good time; his sense of enjoyment in the Berger and Moscheles is contagious, his technique wonderfully attuned. In the Liszt (which was taped live at a concert in 1972--- but fear not--- there is absolutely no audience noise, and the applause has been edited out), Marvin's playing is absolutely transcendental, phenomenal, hair-raising.The sound has transferred exceedingly well from the original 70s LPs; it is full, well-rounded, intimate. So, for a sparkling change of pace, this CD fills the bill and is generous with its good spirit and sense of ebullience.[Running time: 77:02]"

Berger and Moscheles - Certainly Worth Reviving

Hexameron | 05/27/2007

(5 out of 5 stars)

"When considering Classical Piano Sonatas, how many of us would think of Hummel, Dussek, Wolfl, Berger, Ries, and Moscheles? Probably no one when there is Mozart, Beethoven and Schubert to point to. And it's unfortunate that the contemporaries of those illustrious three are relegated to the dustbin... Thankfully, a recording like this comes along and not only rejuvenates the glamour of these obscure composers, but proves that they have something just as significant to offer as Mozart and Beethoven.



Moscheles is slowly gaining respect these days, but Ludwig Berger is completely unknown. Berger's background is substantial enough to count him among the serious contenders, though: he was a pupil of Clementi, was friends with Cramer and Rellstab, and his list of pupils includes Felix and Fanny Mendelssohn, Otto Nicolai, and Adolf von Henselt! Although I'm aware of Berger's songs, I'm totally ignorant of Berger's piano oeuvre. Whatever else he composed, it would seem the Grande Sonate Pathetique Op. 7 is an excellent choice to bring to light. Undeniably influenced by Beethoven's own Op. 13, Berger's opens with a stormy introduction and leads into some hefty Romantic themes. Berger's ideas are already exquisite and grand, but he surpasses himself in the second movement. With the expressive power of Beethoven, the Adagio patetico is a breathtaking one full of delicate meditation and sorrow. In the third movement, Berger maintains a serious passion and continues to generate lovely melodic ideas. Why this Sonata was ever ignored, I don't know; it has compositional strength and plenty to offer musically.



Ignaz Moscheles was actually considered the greatest piano virtuoso in the early 19th century. His Piano Concerti are enchanting and attractive, and his Etudes are equally worthy. While the Sonate Caracteristique Op. 27 doesn't demonstrate Moscheles's piano style completely, it still captures his remarkable virtuosity and post-Mozartean fluency. This Sonata can surely be considered the direct antithesis to Berger's dramatic Op. 7. Inspired by the return of Emperor Francis II after Napoleon's defeat, Moscheles's Sonata is brimming with life and joy. One can feel the happiness Moscheles felt in the exuberant Allegro con brio. There is gentle repose and reflection in the Andantino, and an overwhelming sense of optimism in the frolicking Rondo. The entire work displays as much melodic charm as Mozart and as much expressive content as Beethoven. So just like the Berger work, I have to ask why this hasn't resurfaced at least once in the 50+ years of recordings we have.



I am unfamiliar with Frederick Marvin, but his technique and emotionalism is steadfast and readily seen in the Berger Sonata. Unfortunately, Marvin fails with Liszt's Grosses Konzertsolo. It's a shame, but perhaps understandable. Liszt dedicated this monstrous precursor of the Sonata in B minor to Henselt, who confessed that he was unable to play it. No wonder Clara Schumann made her inane comments that the Grosses Konzertsolo was bombastic and vapid; if Henselt couldn't play it, she probably couldn't either. Frederick Marvin hits all the right notes but seems to be struggling too hard and ends up smearing the clear-cut lines of music. This performance is not even close to being the standard and so I must suggest Leslie Howard's indefatigable and articulate interpretation instead, found here: Liszt: Fantasy, Variations, Funeral Odes, Concert Solo



Bottom line: Even if Liszt's Konzertsolo was absent from the present recording, I would still give this five stars for the Berger and Moscheles. Marvin might have been lackluster with Liszt, but he succeeds as a real champion and musical poet with Berger's Sonata alone. You simply won't find the Berger and Moscheles Sonatas anywhere else, and they are absolutely worth hearing."

5 stars for the Moscheles and Berger, 3 stars for the Liszt

Mark S. Carpenter | Austin, TX USA | 09/24/2007

(4 out of 5 stars)

"Ths CD features three more-or-less unknown compositions: a Sonata Characteristique of Moscheles, Berger's Grand Sonata, op. 7, and Liszt's Grosses Konzertsolo.



For me, the real champion on this CD is the Moscheles Sonata, which reminds me quite a bit of early Mendelssohn. For as dynamic and obviously virtuosic piece as it is, Marvin handles this with a late Classical/early Romantic restraint and clarity -- very much to the benefit of the performance. It is NOT easy to meld "grace" with virtuosity and end up with a musical result, and Marvin succeeds quite admirably.



The Berger reminds me not so much of Beethoven's Sonata Pathetique, op. 13 as it does Beethoven's Op. 7 Sonata. Again, Marvin excels with this piece, combining grace and control with virtuosity to produce a highly satisfying musical result.



It's really a shame that the Moscheles and Berger Sonatas aren't performed more often. Hopefully, this CD will inspire other pianists to look into the back roads of piano literature for other unjustly neglected works -- and to perform them.



The Liszt Grosses Konzertsolo is disappointing. The impression Marvin's performance gives me is that of a highly sectionalized performance even within the main structural sections, with much more change in tempo and even dynamics than is warranted for contrast within the structural sections. The result is that the continuity of each main section and each subsection is broken up and fragmented and the parts within each section don't "relate" well.



Liszt can be fun to play and yet an easy composer to ruin in the hands of someone with a great deal of technique but not much musicianship. Marvin is obviously musical (his splendid performance of the Moscheles proves that beyond any doubt whatsoever!) but I would have like to have heard less emphasis on technique and more emphasis on the musicality within each section -- with thought on how best to perform the contrasting themes when they are combined in the third section (a recapitulation, of sorts).



The Grosses Konzertsolo certainly is not the B Minor Sonata or the Annees de Pelerinage (some of the very best music Liszt composed), but it IS a better piece than Marvin's performance would suggest. I would like to hear this piece in the hands of a Bolet or a Brendel-type pianist, who downplays the technical aspect of the piece (while playing accurately, of course!) while emphasizing the musicality of the composition.



Five points for the Moscheles and the Berger; three points for the Liszt.



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