Moscheles complete piano sonatas

[Martin Eastick]

I have just come across this which initially promised much - until moments later when my hopes were dashed with the realisation that here was yet another dreaded "HIP" release. Such a shame that such an important gap in the recorded repertoire should be filled thyis way! Anyway, with the unlikely possibility of a further recording anytime soon, I suppose I will have to suffer the awful fortepiano and obtain the CD  - rather begrudgingly! Others may be tempted nevertheless: https://www.jpc.de/jpcng/classic/detail/-/art/moscheles-complete-piano-sonatas/hnum/9899209

[Mark Thomas]

It's certainly an important gap in the repertoire which needs filling, but I'm loathe to buy this release. I always find HIP piano tone nerve-jangling.

[Alan Howe]

Saw this myself too, but I'd just never listen to it with any pleasure because of the dreaded fortepiano, so it's not going on my wants list.

[semloh]

Predictably, I take a contrary view regarding the fortepiano! 
In some works it is certainly my preferred instrument. I'm not sure that it is appropriate for Moscheles, but I'd give it a try.

[Hector]

I think in the early years of the authentic instrument movement an exaggerated sound was often produced to make a point, and that divided opinion. Now I find the sound on recent authentic instrument recordings is often somewhat more conventional. From the samples the forte piano on this recording sounds tolerable. For the later sonatas they ought to use a big Broadwood from the 1830s, they are usually quite resonant. I would be interested to hear this recording in full.

[semloh]

I've listened to the disc now and I think it works fairly well. I find the sound of the instrument enjoyable, the dynamic range is acceptable, and the performances -  to my ears - are quite stunning. That said, I don't feel that it's the right instrument for this music. The precision and 'attack' that I suspect is largely inherent in the instrument does get wearing after a while. A piano would bring out the lyricism which, despite the performer's best efforts, sometimes gets lost here amid the technical brilliance. So, I would want this disc as an extra to one using a conventional piano. Very enjoyable in its own right, as long as you take one sonata at a time!

[Mark Thomas]

All five piano sonatas are, or were, available in non-HIP performances on CD: the first two (Op.4 Nouvelle Sonatine Façile et Agréable and Op.22) from Loredana Brigandì on Dynamic, No.3 Sonate Caractéristique Op.27 from Frederick Marvin on Genesis (a label now sadly defunct), and the final pair (Opp.41 and 49 Mélancholique) from Tom Beghin on the Eufoda label. I'm ashamed to say that I had quite forgotten that these recordings were in my collection.

[Wheesht]

Genesis CDs are still available, at least it very much looks like it:
https://www.crystalrecords.com/genesisrecords.html and the Frederick Marvin one is in stock.

[Martin Eastick]

The Tom Beghin recording, long since unavailable on the Eufoda label does contain the Grand Sonata Op41, but is actually a HIP. However, I had forgotten that Ian Hobson had included this sonata as a filler in volume 4 of his survey of the piano concertos. It is a superb performance and, of course, is on a modern instrument. Loredana Brigandi is also excellent with Op4 and Op22, and Op49 is given good performances by both Noel Lee, on Arion (deleted unfortunately) and also Bertrand Giraud, on Anima Records. In particular, it is this last work which seems so let down by the HIP recordings IMHO!

[Mark Thomas]

Ah, I hadn't realised that Tom Beghin's Op.41 was HIP but that's probably because the performance I usually listen to is on another old CD: Michael Krücker on NCA. Thanks, Martin.

[Martin Eastick]

Mark, Michael Krücker's version uses an 1844 Erard, but probably the best of a bad bunch - and the Op49 Sonate Melancolique also included on this CD is most disappointing! It is only Hobson that gives us a modern instrument account of this important work.

[Mark Thomas]

I've now downloaded the Hobson and it's a vast improvement. Many thanks, Martin.