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Updated: June 14, 2025
Moscheles had already said of him in print: "Franz Liszt's playing surpasses everything yet heard, in power and the vanquishing of difficulties." Here he was, then, young, beautiful, famous, a dazzling musician, and Hungarian. What do you expect?
Moscheles relates of that evening: "Horace Vernet entertained us with his ventriloquizing powers, M. Salmon with his imitation of a horn, and Dugazon actually with a mirliton solo. Lafont and I represented the classical music, which, after all, held its own."
Moscheles himself was a more bold and versatile player than any other performer of his school, but he aimed assiduously to confine his efforts within the perfectly legitimate and well-established channels of pianism. As an extemporaneous player, perhaps no pianist has ever lived who could surpass Moscheles.
The Impromptu spoken of is the third, Op. 51, in G flat major: Though I cannot at all pretend to taking the pains which our friend Moscheles bestows on his works, I consider myself, however, with regard to your subscribers, in duty bound to ask you on this occasion to insert in your next number an erratum:
Moscheles, while admitting Chopin's originality, and the value of his pianistic achievements, confessed that he disliked his "harsh, inartistic, incomprehensible modulations," which often appeared "artificial and forced" to him these same modulations which to-day transport us into the seventh heaven of delight! Mendelssohn's attitude toward Chopin was somewhat vacillating.
Moscheles was entirely devoid of that littleness which finds vent in envy and jealousy, and was as frank and sympathetic in his estimate of others as he was ambitious and industrious in the development of his own great talents. In 1824 he gave piano-forte lessons to Felix Mendelssohn, then a youth of fifteen, at Berlin.
Schröder-Devrient met a warm social welcome in London from the family of the great pianist, Moscheles, to whom she was known of old. Mme.
From 1815, when Moscheles began his career as a virtuoso in the production of his "Variationen fiber den Alexandermarsch," to 1826, he established a great reputation as a virtuoso and composer for the piano-forte. Though he played his own works at concerts with marked approbation, he also became distinguished as an interpreter of Mozart and Beethoven, for whom he had a reverential admiration.
Born in Oberlin, Ohio, April 4, 1837, he studied the piano in Germany with Moscheles, Papperitz, and Reinecke, the organ with Richter, composition, counterpoint, and fugue with Reinecke and Hauptmann. He had also a period of study in Paris. Another organist of distinction is Frank Taft, who is also a conductor and a composer.
Losing the spirituality of a Mozart the Viennese school was destined to degenerate into empty bravura playing. Before its downfall it produced a Hummel, a Moscheles and a Czerny, each of whom left in their piano studies a valuable bequest to technique. Every accent of his dramatic music was embodied in his piano compositions. Tones furnished him unmistakably a language that needed no commentary.
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