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Hyperion Records

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Moscheles' London drawing room (attributed to) by Felix Mendelssohn (1809-1847)
Track(s) taken from CDH55387
Recording details: April 2003
Charterhouse Hall, Godalming, Surrey, United Kingdom
Produced by Amanda Hurton
Engineered by Arne Akselberg
Release date: November 2003
Total duration: 7 minutes 14 seconds

'Graceful, fluent and engagingly affectionate performances' (Gramophone)

'Lane is the kind of pianist who can make anything sound good. His formidable technique is evident from the opening étude … it is all the better that this recording is engineered well and we have a fine instrument' (American Record Guide)

'Hyperion furnishes excellent recorded sound in a release of truly generous length, and Henry Roche does a splendid job with the liner notes. Enthusiastically recommended' (Fanfare, USA)

'Piers Lane's concern is to underline the unexpected meatiness of the piano writing, and he offers lusty, swaggering performances … it's a revelatory recording' (International Piano)

'Il joue ces œuvres de manière impeccable et soignée, avec un goût exquis, en dosant parfaitement la puissance et le raffinement nécessaires, nous offrant ainsi d'agréables révélations à savourer' (Répertoire, France)

Deux Études, Op 98
published by François Fétis in Moscheles' Méthode des Méthodes at the end of 1840; dedicated to Prince Albert

L'Enjouement  [3'27]
L'Ambition  [3'47]

Introduction  EnglishFrançaisDeutsch
The Deux Études Op 98, were composed for Moscheles’ own comprehensive tutor of piano technique Méthode des Méthodes, which he published with François Fétis at the end of 1840 in France, Germany and England. The concluding part comprises some eighteen studies specially commissioned from many of the best composers of the day, its most famous offspring being Chopin’s Trois Nouvelles Études composed in 1839. Liszt, Mendelssohn, Thalberg and Henselt also contributed. L’Enjouement (playfulness) is an unassuming but excellently written piece full of invention, in cantabile style with an inner accompaniment of off-beat semiquavers. The more virtuosic L’Ambition in G minor starts quietly with an expressive but agitato melody over rushing triplets, but soon more and more complex passagework keeps impetuously bursting forth. Moscheles had been appointed pianist to Prince Albert in early 1840, and later presented an inscribed copy of the complete work to the Prince as dedicatee.

from notes by Henry Roche © 2003

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