Moritz Moszkowski

2.1. Birth and Family

Moritz Moszkowski was born on August 23, 1854, in Breslau, Kingdom of Prussia (now Wrocław, Poland). His parents were affluent Polish-Jewish immigrants who had relocated to Breslau in 1854 from Pilica, a town near Zawiercie. Notably, Moszkowski remained an ardent adherent of Judaism at a time when many Jewish individuals chose to downplay their heritage. He was the younger brother of Alexander Moszkowski, who would later become a celebrated writer and satirist in Berlin.

2.2. Childhood and Education

Moszkowski displayed remarkable musical talent from a very young age, commencing his musical education at home. In 1865, his family moved to Dresden, where he continued his piano studies at the local conservatory. By 1869, he relocated to Berlin to further his education. He first attended the Julius Stern Conservatory, studying piano under Eduard Franck and composition with Friedrich Kiel. Subsequently, he enrolled in Theodor Kullak's Neue Akademie der Tonkunst_{New Academy of Musical Art}^German, where he refined his compositional skills with Richard Wüerst and his orchestration techniques with Heinrich Dorn. During his time there, he forged close friendships with the brothers Xaver Scharwenka and Philipp Scharwenka. In 1871, he accepted Kullak's invitation to join the academy as a teacher, and, being a proficient violinist, he occasionally performed as the first violinist in the orchestra.

3.1. As a Pianist

Moszkowski made his successful debut as a pianist in 1873, swiftly gaining experience and establishing his reputation through tours in nearby cities. Within two years, he had advanced to performing his own piano concerto, arranged for two pianos, alongside the legendary Franz Liszt at a private matinée for an invited audience. Throughout his career, Moszkowski was widely regarded as an exceptional concert pianist, captivating audiences across Europe with his brilliant and clear playing, and his masterful technique.

3.2. As a Composer

Moszkowski was an incredibly prolific composer, penning over two hundred small-scale piano pieces that garnered him immense popularity. Among these, his set of Spanish Dances, Op. 12, originally conceived for piano duet, became particularly famous and was later arranged for solo piano and orchestra by Philipp Scharwenka. His early Serenade, Op. 15, achieved global renown and was adapted into various forms, including the song Liebe, kleine Nachtigall_{Love, Little Nightingale}^German. Today, he is perhaps best known for his 15 Études de Virtuosité, Op. 72, which have been performed by celebrated virtuoso pianists such as Vladimir Horowitz and Marc-André Hamelin. The first complete recording of these études was made by Ilana Vered in 1970. Many of his concise yet brilliant piano compositions, such as Étincelles (Sparks), Op. 36 No. 6, are frequently performed as encores at classical concerts.

Beyond his popular piano miniatures, Moszkowski also composed significant larger-scale works. These include two piano concertos: the Piano Concerto in B minor, Op. 3, composed in 1874 and rediscovered in 2011 before its publication in 2013, and the more widely known Concerto in E major, Op. 59, published in 1898 and dedicated to Josef Hofmann. His orchestral output features a Violin Concerto in C major, Op. 30, three orchestral suites (Opp. 39, 47, and 79), and the symphonic poem Jeanne d'Arc, Op. 19. His opera, Boabdil der letzte Maurenkönig_{Boabdil, the Last Moorish King}^German, Op. 49, based on the historical theme of the capture of Granada, premiered at the Berlin State Opera on April 21, 1892, and was subsequently performed in Prague and New York City the following year. While the opera itself did not remain in the standard repertoire, its ballet music enjoyed considerable popularity for several years. He also composed the three-act ballet Laurin, which premiered in Berlin in 1896.

3.3. As a Teacher

From 1875, Moszkowski held a teaching position at the Berlin Conservatory for 25 years. During this period, his notable pupils included Frank Damrosch, Joaquín Nin, Ernest Schelling, Joaquín Turina, Carl Lachmund, Bernhard Pollack, Ernst Jonas, Wilhelm Sachs, Helene von Schack, Albert Ulrich, and Johanna Wenzel. After moving to Paris in 1897, he remained highly sought after as a teacher, known for his generosity in dedicating time to aspiring musicians. His Parisian students included Vlado Perlemuter, Wanda Landowska, and, informally, Gaby Casadesus. Thomas Beecham also took private lessons in orchestration from him in 1904, following the advice of André Messager. Moszkowski famously stated that there was nothing more he could teach Josef Hofmann, acknowledging Hofmann's extraordinary talent.

3.4. As a Conductor

In addition to his prowess as a pianist and composer, Moszkowski gained recognition as a conductor. In 1887, he was invited to London, where he had the opportunity to introduce many of his orchestral compositions to the public. His contributions were acknowledged with an honorary membership in the Royal Philharmonic Society.

4.1. Pianistic Style and Virtuosity

Moszkowski's piano compositions are celebrated for their sparkling brilliance, clear textures, and the high level of virtuosity they demand from performers. His own playing was described as possessing balance, bright limpidity, and a wonderful technique that captivated audiences across Europe. His mastery of the piano repertoire was undeniable, but he was particularly admired for his interpretations of his own works. Many of his pieces, especially the 15 Études de Virtuosité, Op. 72, are valued for their pedagogical utility, serving as essential studies for piano students to develop advanced technique.

4.2. Compositional Influences and Originality

Moszkowski's early compositions bear the clear influence of Romantic composers such as Frédéric Chopin, Felix Mendelssohn, and notably Robert Schumann. Schumann's subtle understanding of the piano's capabilities and idiomatic writing significantly shaped Moszkowski's own evolving style. While his music rapidly gained sensation and he achieved legitimate success with larger stage and concert hall works, some critics, despite acknowledging his technical brilliance, described his music as "devoid of the masculine and the feminine," suggesting a perceived lack of profound emotional depth or dramatic force. Nevertheless, his music's popular appeal stemmed from its inherent charm, elegance, and melodic beauty. He maintained a refined demeanor throughout his life, preferring solitude, yet he was known for his exceptional generosity and willingness to assist talented young musicians who were struggling to achieve success.

5.1. Piano Works

Moszkowski composed over two hundred small-scale piano pieces, which contributed significantly to his widespread popularity. His most renowned piano compositions include the set of Spanish Dances, Op. 12, originally written for piano duet and later arranged for solo piano and orchestra. His early Serenade, Op. 15, achieved international fame and appeared in various forms, including the song Liebe, kleine Nachtigall_{Love, Little Nightingale}^German. Today, he is perhaps best known for his 15 Études de Virtuosité, Op. 72, which remain a staple in the repertoire of virtuoso pianists. Other popular and brilliant piano miniatures include Étincelles (Sparks), Op. 36 No. 6, often performed as an encore. He also composed 20 Short Studies, Op. 91, and 10 Pièces mignonnes, Op. 77.

5.2. Orchestral and Stage Works

Moszkowski's larger-scale compositions include two piano concertos: the Piano Concerto in B minor, Op. 3, composed in 1874 and rediscovered and published in 2013, and the more famous Piano Concerto in E major, Op. 59, published in 1898 and dedicated to Josef Hofmann. He also wrote a Violin Concerto in C major, Op. 30, and three orchestral suites (Opp. 39, 47, and 79). His symphonic poem Jeanne d'Arc, Op. 19, explores the historical figure of Joan of Arc. Moszkowski's opera, Boabdil der letzte Maurenkönig_{Boabdil, the Last Moorish King}^German, Op. 49, based on the historical theme of the capture of Granada, premiered at the Berlin Court Opera on April 21, 1892, and was subsequently performed in Prague and New York City. Although the opera itself did not stay in the repertoire, its ballet music was highly popular for several years. He also composed the three-act ballet Laurin, which premiered in Berlin in 1896.

6.1. Marriage and Children

In 1884, Moszkowski married Henriette Chaminade, the younger sister of the renowned pianist and composer Cécile Chaminade. Together, they had a son named Marcel and a daughter named Sylvia. However, their marriage ended in divorce three years later when Henriette left him for the poet Ludwig Fulda. Moszkowski later married a second time, but this union also ended in 1910 when his second wife left him, taking their daughter with her. This second marital breakdown and the loss of his daughter from this marriage were personal tragedies from which he never fully recovered.

6.2. Health Issues and Personal Tragedies

By the mid-1880s, Moszkowski began to suffer from a neurological problem in his arm, which gradually compelled him to reduce his recital activities. This ailment significantly impacted his career as a performing pianist. Further personal sorrow struck in 1906 when his 17-year-old daughter, Sylvia, passed away, at a time when his son, Marcel, was serving in the French army. By 1908, at the age of 54, Moszkowski's health continued to decline, leading him to become increasingly reclusive.

7.1. Move to Paris and Decline

In 1897, having achieved considerable fame and wealth, Moszkowski relocated to Paris, where he resided on rue Nouvelle (or rue Blanche, according to some sources) with his son and daughter. Despite his declining health, he continued his teaching activities and remained highly sought after by aspiring musicians. However, his popularity began to wane, and his career slowly entered a period of decline. He eventually stopped accepting composition pupils, reportedly stating that "they wanted to write like artistic madmen such as Alexander Scriabin, Arnold Schoenberg, Claude Debussy, Erik Satie..." This remark reflected his conservative musical tastes and his disillusionment with the emerging avant-garde movements of the early 20th century.

7.2. Financial Hardship and Support

Moszkowski spent his final years in poverty. The primary cause of his financial ruin was his decision to sell all his copyrights and invest the proceeds entirely in German, Polish, and Russian bonds and securities. These investments became worthless with the outbreak of World War I, leaving him destitute. Recognizing his plight, two of his former pupils, Josef Hofmann and Bernhard Pollack, came to his aid. Through Pollack's intervention, new piano arrangements of Moszkowski's opera Boabdil were sent to Peters Publishing House in Leipzig. This arrangement allowed Pollack to collect an additional 10.00 K FRF disguised as royalties. This sum was supplemented by a gift of 10.00 K DEM and personal donations of 10.00 K DEM from Hofmann and 5.00 K DEM from Pollack himself.

9.1. Final Illness and Passing

Despite the efforts of his friends and admirers to secure his financial well-being, Moszkowski's illness, stomach cancer, continued to worsen. He passed away on March 3, 1925, tragically just before the first payment from the annuity purchased for him could be delivered. The funds raised from the Carnegie Hall concert were subsequently used to cover his funeral expenses and were distributed to his wife and son.

10.1. Contemporary Reception

During his lifetime, Moszkowski was held in high regard and enjoyed considerable popularity across Europe. His performances were praised for their balance, bright clarity, and wonderful technique, which often enthralled audiences and critics alike. Fellow musicians, such as Ignacy Jan Paderewski, lauded his compositional skill, particularly for the piano. In 1899, the Berlin Academy elected him a member, further attesting to his esteemed standing in the musical community. Despite being offered substantial fees, he consistently declined invitations from American piano manufacturers to promote their instruments in the United States, maintaining a certain artistic independence.

10.2. Modern Reception and Legacy

Compared to some of his contemporaries, Moszkowski is less widely known today. However, there are ongoing efforts to revive interest in his music through new recordings and performances. His enduring legacy primarily rests on his significant contributions to piano literature, especially his 15 Études de Virtuosité, Op. 72, which remain indispensable in piano pedagogy due to their technical demands and musicality. His compositions are characterized by their elegance, melodic charm, and brilliant pianistic effects.

10.3. Anecdotes

Moszkowski was known for his wit and sharp humor. One notable exchange involved the German conductor, virtuoso pianist, and composer Hans von Bülow, who famously wrote, "Bach, Beethoven, Brahms. All others are cretins." Moszkowski, with a clever play on words and a nod to his Jewish heritage, retorted, "Mendelssohn, Meyerbeer, and myself, Moszkowski. All others are Christians!"

Another anecdote illustrates his self-deprecating humor. When the German-American composer Ernst Perabo asked him to write an autobiography, Moszkowski humorously replied in a letter that he would gladly send the score of his piano concerto instead, but for two reasons: "First, it is of no value; and second, it is the most convenient thing I know of for raising the piano chair when I am studying a better work (it is 400 pages long)."

11.1. Notable Recordings and Performers

The first complete recording of Moszkowski's Études de Virtuosité, Op. 72, was made by Ilana Vered in 1970. These études have also been performed by renowned pianists such as Vladimir Horowitz and Marc-André Hamelin. Seta Tanyel recorded three volumes of Moszkowski's solo piano works between 1993 and 1998, released on Hyperion/Helios records and Collins Classics. More recently, Ian Hobson began a projected complete traversal of Moszkowski's solo piano music, with the first volume released in 2021 on Toccata Classics. Toccata Classics has also released recordings of his orchestral works and piano concerti.

The Piano Concerto in E major, Op. 59, was first recorded by Michael Ponti and has since been recorded by artists such as Piers Lane and Joseph Moog. The Suite in G minor for two violins and piano, Op. 71, has been recorded by distinguished duos like Itzhak Perlman and Pinchas Zukerman.

11.2. Selected Discography

• Moritz Moszkowski and Paderewski: The Romantic Piano Concerto, Vol. 1. (Piers Lane)
• Moritz Moszkowski and Adolf Schulz-Evler: The Romantic Piano Concerto, Vol. 68 (Ludmil Angelov)
• Moritz Moszkowski and Mieczysław Karłowicz: The Romantic Violin Concerto, Vol. 5 (Tasmin Little)
• Moritz Moszkowski: Piano Music Vol. 1, 2 & 3 (Seta Tanyel)
• Moritz Moszkowski: Piano Concerto In E major & Suite for Orchestra "From Foreign Lands". Markus Pawlik, Antoni Wit
• Moritz Moszkowski: Serenata. John McCormack, Fritz Kreisler
• Moritz Moszkowski: Vingt Petites Études, Op. 91 & Brahms: Hungarian Dances. Esther Budiardjo