In the days before recorded sound, people usually learned their orchestral music at home, playing it in piano transcriptions for two or four hands. Two German-Jewish composers took that idea a stage further: Ignaz Moscheles, protégé of Beethoven, wrote a symphony for four hands at a single keyboard, and Ferdinand Hiller, friend of Berlioz, Chopin and Liszt, went a step further still, following Moscheles’ symphony without an orchestra with an opera without singers – both works bold genre-busters well before the term had even been invented.
Ignaz Moscheles / Ferdinand Hiller: Four Hands On Stage, Opera And Symphony Conceived For The Keyboard – Stephanie McCallum & Erin Helyard
Ferdinand Hiller Operette ohne Text, Op. 106 (publ. 1864)
No. 1 Ouverture
No. 2 Romanze des Mädchens
No. 3 Polterarie
No. 4 Jägerchor und Ensemble
No. 5 Romanze des Jünglings
No. 6 Duettino
No. 7 Trinklied mit Chor
No. 8 Marsch
No. 9 Terzett
No. 10 Frauenchor
No. 11 Tanz
No. 12 Schlussgesang
Ignaz Moscheles Grande Sonate Symphonique No. 2 in B minor, Op. 112 (1845)
I. Andante patetico – Allegro agitato
II. Andante espressivo
III. Scherzo alla tedesca antica (Allegretto)
IV. Andante patetico – Allegro con brio
Stephanie McCallum & Erin Helyard
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