Moszkowski PC Op.59

[Revilod]

Just a quick post to say that Iasm 2000 is very much in a minority when he says that Moog's performance of Rachmaninov's Third Concerto is "so-so". I (and many others) think it's quite phenomenal. His technique is so assured that he can do whatever he wants without having to worry about getting the notes right.  (The scherzando music in the slow movement is astonishing.) There is, then, an Argerich-like sense of spontaneity to this performance....and the conductor and orchestra are absolutely with him. Don't think that, if you buy this disc for the Rubinstein concerto, you'll be getting anything other than a sensational version of the Rachmaninov as well.

[FBerwald]

Dear @Revilod, If Moog is to be compared to Argerich, then I am afraid that many here (myself included!), will draw negative connotations. Argerich, to me, is a speed freak, and do not care at all for her playing.

[lasm2000]

Don't get me wrong. Moog's Rach 3 is definitely better than some of the rather late releases by big companies. It is way better (for example) than Yuja Wang's or Lang Lang's version, but then, nobody is surprised by that. The problem is that the Rach 3 is an extremely competitive field. It is probably the piece that every aspiring virtuoso wants to record, it is recorded over and over and over again and it is really hard to bring something new to the table. For a version recorded in modern sound the release by Thibaudet/Ashkenazy or the Glemser/Wit are simply on a different league.

Anyway, since this kind of "off-topic" discussions always make any administrator mad I will just say that Moog's in the middle of the pack (trust me, I have almost 40 recordings of the Rach 3, I was obsessed by it some time ago). You can do definitely worse than it, but what's the point with promoting a record for a very average version of a piece that's easily available elsewhere when it actually includes one of the very best recordings of a rather unsung piece? Moog is actually one of the best young pianists around, way better than most of what the big labels are promoting around, there's no need to inflate his work as it speaks by itself, it just doesn't really includes that Rach 3 as a standout.

On the Argerich topic all I'd say is that the album with the Rach 3/Tchaikovsky 1 is one of the most overrated albums in history. She doesn't sinks her fingers all the way down when pressing the keys and as a result the melodic lines wobble in a unpredictable way. It is a very exciting and totally unmusical record. It was my first exposure to both works and as a result I ended disliking them for a while until I found other versions. By the way one of the very few (if not the only) concertante piece in which Argerich in "crazy mode" works well is Strauss' Burlesque. I way prefer her when she is not trying to break speed records. Her Bach partitas or the manifold releases of chamber music both at Lugano and with Gidon Kremer are examples of that. That being told, most of her famous records are either of pieces of percussive nature (Prokofiev 3 or the Burlesque) or grossly distorted pieces in an attempt to break the Guinness records (the live Tchaikovsky 1, Rach 3 or the Chopin scherzo 3).

Anyway, I have just heard the new Moszkowski samples. It is actually closer to Ponti than Lane. That's so welcome. When I first heard the album of the Moszkowski/Paderewski I was indignant with Piers Lane slow and almost chopin-ian approach to that music. I have in the mean time grown to appreciate his style but I have still wanted a more bravura approach for both pieces. For the Paderewski we have the Fialkowska/Wit on Naxos, but the Moszkowski from Naxos was a bit percussive for my taste. I will refrain from further comments until I hear the complete album but it looks like we finally got a punchy version of the Moszkowski.

[FBerwald]

Dear @lasm2000 refer to David Bar-Illan's Moszkowsky for the "punchiest" version ever IMHO! Duly Amended 

[JimL]

Well, now that we have 2 Moszkowski PCs to record, can a pairing of them both be far off?  It would be difficult, considering the length of the 1st, but...

[Martin Eastick]

I still maintain that David Bar-Illan's is by far my first choice, although, for an unsung piano concerto, the Moszkowski Op59 has done far better than most in having a fair number of commercial recordings issued, as well as an off-the-air BBC broadcast from the 1930's! However, Bar-Illan's version has much to commend -  and whilst there are a few "unsafe" moments (mainly in movement 1) it is certainly a "punchy" performance as mentioned - particularly with regards to movements 3 & 4 , but he also captures just the right amount of drama and sentiment in movement 2, without being excessive. Furthermore, the orchestral playing is more than up to the task and the recording is excellent. However, the one disadvantage with this recording is a substantial cut in the 4th movement (just after the second subject) which unfortunately creates a sense of disproportion to the movement, which is a great pity! Nevertheless, it still remains, IMHO, the most exciting performance to date - but Joseph Moog may take the number one spot, although I feel that, from the short extract of movement 4, this could prove to be just that little bit too fast, with some of the detail of interplay between the soloist and orchestra lost...........

As for a coupling of both the Moszkowski concertos, this would surely have to be spread over 2 cd's!

[Alan Howe]

From Gramophone:

Whatever scintillates and delights is here in super-abandance. For brilliant pianist (and later spin-master for Benjamin Netanyahu) David Bar-Illan, the Moszkowski Concerto is 'first and foremost an orgy of pianism, an intoxication of what the instrument can do, a celebration of sound, sparkle and speed. Its the kind of assault on the senses experienced at a fantastic firework display. Plus a little pulling at the heart-strings. Profound? No. Thrilling? Yes.'

This is admirably put, though neither Bar-Illan's recording nor any other (Piers Lane and Michael Ponti) come within distance of Joseph Moog's. From Moog everything sparks and thunders. A virtuoso to the manner born, notes stream from his fingers like cascading diamonds, his playing alive with what David Fanning so wittily called 'the boggle factor'. Hear him leap, released, like a greyhound straining in the slips, from the Andante's dreams into the Scherzo vivace, though with ample time in the former to relish the more serious side of Moszkowski's ebullient nature (for this, try the deeply expressive second étude from Op 24, memorably recorded by Seta Tanyel – Hyperion, 12/96, A/02). Again, hear him once more frolicking through vaudeville tunes in the finale. At 7'05", as the concerto approaches its grandiloquent close, you will witness a heart-stopping bravura of a sort rarely encountered.

After this, the evergreen Grieg Concerto comes as something of a makeweight. But Moog's engulfing command is complemented by poise and reflection (the first-movement cadenza and first entry in the central Adagio). His sprint to the finale's finish could hardly be more joyous or exhilarating. This is entirely a young pianist's view, though in truth Lipatti was only two years older than 28-year-old Moog when he made his famously regal recording. Moog's performance is greeted with a storm of cheers, wolf-whistles and all. Clearly he is already among the most brilliant of pianists; and in the Moszkowski his orchestra and conductor let their hair down and relish every bar of this delectable fin-de-siècle virtuoso fling.

Bryce Morrison: http://www.gramophone.co.uk/review/grieg-moszkowski-piano-concertos?utm_content=&utm_campaign=Gramophone%20Newsletter%2017_08_15&utm_source=Gramophone&utm_medium=adestra_email&utm_term=http%3A%2F%2Fwww.gramophone.co.uk%2Freview%2Fgrieg-moszkowski-piano-concertos

So, has David Bar-Illan finally met his match?

[FBerwald]

I'll reserve judgement till I have heard the Moog version, but the Gramophone review makes a compelling case.... but then again "Its Gramophone!"... [that old BBC cardboard and string wireless ....as Blue Bottle would say.]

[Jonathan]

Well, I've just listened to Joseph Moog's recording and it is extremely good. It's very fleet fingered and the orchestral accompaniment is excellent. My only minor quibble is with the tempo in the slow movement - it's a fraction too fast IMHO (of course). I can't comment on the Greig as I have only heard the Moszkowski but I would say this is a great recording, excitingly played by a very talented pianist. I shall be listening again to this!

[FBerwald]

Having finally heard the Joseph Moog version I can safely say that I consider this latest offering the "punchiest". The pianism is scintillating and the orchestral accompaniment is equally good. Until now I had no idea that a harp was also included in the score. All in all a winner. Shall return to this recording many times!!
so yes Alan, [for me atleast]  David Bar-Illan has finally met his match!

[eschiss1]

Harp? Definitely, according to instrumentation list @ IMSLP... I'm not sure where in the piece; will have to have a look/listen. (Oh, the Scherzo, starting just a few bars in...- at first a support part in unison with other instruments, until the harpist gets measures of 16th-note run to itself (plus 8th notes in the piano solo part) 2 bars and 8 bars past rehearsal C in the scherzo... maybe 2 minutes into the scherzo or so, depending on tempo, etc. Can't hear the harp at all at that particular point, though one sort of can at others, in the free Seattle Philharmonic recording ...) (Ah, I see the harp plays in the Andante as well.)

[FBerwald]

I heard the harp clearly in the second movement. That's why I was surprised and amazed at this recording Its amazing