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Updated: June 14, 2025
Shortly after Moscheles had left Paris, his son forwarded to him most friendly messages from Rossini, and continues thus: "Rossini sends you word that he is working hard at the piano, and, when you next come to Paris, you shall find him in better practice.... The conversation turning upon German music, I asked him 'which was his favorite among the great masters? Of Beethoven he said: 'I take him twice a week, Haydn four times, and Mozart every day. You will tell me that Beethoven is a Colossus who often gives you a dig in the ribs, while Mozart is always adorable; it is that the latter had the chance of going very young to Italy, at a time when they still sang well. Of Weber he says, 'He has talent enough, and to spare' (Il a du talent
William Mason studied in Boston, and in Germany under Moscheles, Hauptmann, Richter, and Liszt. His success in concerts abroad and here gave prestige to his philosophy of technic, and his books on method have taken the very highest rank. His pedagogical attainments have overshadowed his composition, but he has written some excellent music.
It recalled Moscheles' description of Chopin's playing: "His piano is so softly breathed forth that he does not require any strong forte to produce the wished for contrast." This G minor Ballade was published in June, 1836, and is dedicated to Baron Stockhausen. The last bar of the introduction has caused some controversy.
Chopin received a gold cup, Moscheles a travelling case. "The King gave him this," said the amiable Frederic, "to get the sooner rid of him." There were two public concerts in 1841 and 1842, the first on April 26 at Pleyel's rooms, the second on February 20 at the same hall.
"His constant and daring flights," writes Moscheles, "his newly discovered flageolet tones, his gift of fusing and beautifying objects of the most diverse kinds all these phases of genius so completely bewilder my musical perceptions that for days afterward my head is on fire and my brain reels." His tone lacked roundness and volume.
What Moscheles heard and thought may be gathered from the following entry in his diary:"Unfortunately, we heard of Chopin's critical condition, made ourselves inquiries, and found all the sad news confirmed. Since he has been laid up thus, his sister has been with him. Now the days of the poor fellow are numbered, his sufferings great. Sad lot!"
Meyerbeer's first work was the oratorio "Gott und die Natur," which was performed before the Grand Duke with such success as to gain for him the appointment of court composer. Meyerbeer's concerts at Darmstadt and Berlin were brilliant exhibitions; and Moscheles, no mean judge, has told us that if Meyerbeer had devoted himself to the piano, no performer in Europe could have surpassed him. By advice of Salieri, whom Meyerbeer met in Vienna, he proceeded to Italy to study the cultivation of the voice; for he seems in early life to have clearly recognized how necessary it is for the operatic composer to understand this, though, in after-years, he treated the voice as ruthlessly in many of his most important arias and scenas as he would a brass instrument. He arrived in Vienna just as the Rossini madness was at its height, and his own blood was fired to compose operas
All I want is a resonant, full-toned voice, not a screeching voice. I care not whether it be for speaking or singing, everything ought to sound melodious." So, too, Rossini assured Moscheles that he hated the new school of piano-players, saying the piano was horribly maltreated, for the performers thumped the keys as if they had some vengeance to wreak on them.
John Relfe, author of a valuable work on counterpoint, was his instructor in thorough-bass; Mr. Abel, a pupil of Moscheles, in execution.
Here we find a striking originality and boldness of modulation that has no parallel in music, except in Wagner's last music-dramas. Now we have seen that Moscheles, and other contemporaries of Chopin, found his modulations harsh and disagreeable; and doubtless there are amateurs to-day who regard them in the same way.
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