Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands - Ignaz Moscheles

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Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands
Moscheles Tagliche Studien uber die harmonisierten Skalen zur Ubung in den verschiedensten Rhythmen Op.107 Vol.1 No.1-30 for Piano 4 Hands

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VSE10

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Opus 107 by Moscheles would seem to belong in that category of skills exercises, if one goes by its title, which reads in full: Tägliche Studien über die harmonisierten Skalen zur Übung in den verschiedensten Rhytmen. Still, this is a horse of quite another colour, which appears already from the fact that the 59 pieces, published in two parts, were written for piano duet. In practically all exercises the focus is on scales, but throughout presented in different ways. They are definitely not all pieces in étude style: you can also find pieces clearly composed for recital purposes, like Dance, Boléro and Waltz. Gradually, the level of difficulty increases, from elementary C-major scales in equal movement in adagio tempo (nr. 1) to an imposing concert étude full of hurtling chromatic scales up and down the whole keyboard. With the exception of the first four short pieces, with the primo practising basic scales, and secundo taking care of an attractive accompaniment (to be played by the teacher), generally both parts are equally difficult. But it should be noted that in the one piece primo knows the scale passages, and in the other secundo.
As a composer, Moscheles is clearly not in the top range, even though we possess a good deal of well-written and attractive sounding concert literature by his hand. In composing such basic exercises he turns out to be a great master, for with simple material he has created an extremely versatile volume of etudes. It is odd that this material should have been largely forgotten. Indeed, for presentday group lessons practice it is attractive material (though we should bear in mind that it is meant for advanced students, the pieces actually increasing from grade 2 to grade 6 Kloppenburg). It is of course traditional and tonal, but it offers much variety. Students having worked their way throught the 59 pieces will definitely have mastered playing scales. And in the process all kinds of different ways of playing and rhythms are practised in melodious pieces which really have the character of music.

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VSE10

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188925

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