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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: 15 minutes 4 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)

Quatre Grandes Études de Concert, Op 111
composer
1841-5; dedicated to Wilhelm Speyer; published for the benefit of the Mozart Society of Frankfurt

Le Carrillon  [2'59]
La Fougue  [3'20]

Introduction  EnglishFrançaisDeutsch
With the Quatre Grandes Études de Concert, Op 111, that appeared in 1845, Moscheles returns, as if irresistibly, to characteristic titles, which mirror the increased power and scope of the music. He composed two of them on holiday in Boulogne in the late summer of 1841; La Fougue was written in 1843. His concert career had effectively ended, yet here he produced four of his finest compositions. All the varieties of technical difficulty that a virtuoso could wish for develop organically from the music itself, which shows nonetheless at times the simplicity of a great and mature artist. Rêverie et Allégresse (dreaming and joyfulness), after a pensive opening, embarks on a quiet and unassuming tune which grows almost imperceptibly into a rushing torrent of notes. In the charming Le Carrillon there is a similar development from artlessness to explosive power; its second theme has an accompaniment of deliciously discordant passing notes. Tendresse et Exaltation has once again a remarkably ‘up-to-date’ tune, hauntingly varied and developed. The growing sense of rapture finally breaks free in an allegro tempo that crescendos to a triumphant conclusion. The final Étude, La Fougue (impetuosity and passion), is reminiscent of Alkan in its power and ardour, and is perhaps the finest of an exceptional group of pieces. They were dedicated to the composer Wilhelm Speyer of Frankfurt, and published for the benefit of the Mozart Society of that city.

from notes by Henry Roche © 2003

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