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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: 6 minutes 45 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 105
published in November 1841 by Pietro Mecchetti of Vienna to raise funds for the Beethoven memorial in Bonn

Allegro feroce  [3'46]

Introduction  EnglishFrançaisDeutsch
The Deux Études Op 105, were written for the Beethoven Album published in November 1841 by Pietro Mecchetti of Vienna to raise funds for the Beethoven monument in Bonn. They found themselves in illustrious company: the volume included Mendelssohn’s Variations Sérieuses and Chopin’s Prélude Op 45. Mendelssohn was sent manuscript copies of the studies in June 1841, and replied: ‘I cannot tell you how much I have found in them to enjoy and admire, and how grateful I am that you should select me as the first to send them to, in advance of the whole musical world. The D minor one is my favourite … but then there is that lively one in F major, which I love more and more each time I play it. They are both so truly Moscheles that it is hard to choose! The one in F I cannot manage at all yet, although I have tried hard.’ They are in truth at least as advanced and demanding as anything he had composed up to that time, the first in F major, Allegro scherzoso, for its very rapid piano repeated notes, and the second, Allegro feroce, for the power and stamina of its virtuoso repeated chords. Liszt, who gave several four-hand concerts with Moscheles in 1841 and was a constant and welcome guest in his house that summer, played both studies admirably at sight from the manuscript.

from notes by Henry Roche © 2003

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