List_of_compositions_by_Moritz_Moszkowski

Moritz Moszkowski
Moritz Moszkowski
	Piano Concerto No. 2, Op. 59,; 2nd movement
Background information
Born	23 August 1854; Breslau, Kingdom of Prussia, German Confederation
Died	4 March 1925 (aged 70); Paris, French Third Republic
Genres	Classical, Romantic era
Occupation(s)	Pianist, composer
Instrument(s)	Piano

List of compositions by Moritz Moszkowski

Musical artist

The following is the complete List of compositions by Moritz Moszkowski.

Quick Facts Moritz Moszkowski, Background information ...

MoszWV means Moszkowski Werkverzeichnis (=Moszkowski work directory). ^{[citation needed]}

Works with opus number

More information Title, Opus ...

Title	Opus	Name	Key	Tempo	Year	Note
Scherzo	1	—	B♭ major	Quasi andantino	1874	^{[n 1]}
Albumblatt	2	—	A♭ major	Moderato e grazioso	1875	^{[n 2]}
Piano Concerto No. 1	3	First movement	B minor	Allegro con spirito	1874	^{[n 3]}
		Second movement	G major	Adagio
		Third movement	E major	Scherzo molto vivace
		Fourth movement	B minor	Allegro con spirito l'istesso tempo
Caprice	4	—	A minor	Vivo	1875	^{[n 4]}
Hommage à Schumann	5	—	E♭ major	Allegro con brio	1875	^{[n 5]}
Fantasie-Impromptu	6	—	F major	Allegretto grazioso	1875	^{[n 6]}
			G minor	L’istesso tempo
			D minor	Tempo I (Allegretto grazioso)
Trois Moments Musicaux	7	No. 1	B major	Allegramente	1875	^{[n 7]}
		No. 2	C♯ minor	Con moto
		No. 3	F♯ major	Tranquillo e semplice
Fünf Walzer	8	No. 1	A major	Allegro moderato	1875	^{[n 8]}
		No. 2	A minor	Pesante e lugubre
		No. 3	E major	Allegro grazioso
		No. 4	G major	Vivace assai
		No. 5	D major	Pomposo ed energico, ma non troppo allegro
	8a	Idem	Idem	Idem		^{[n 9]}
Zwei Lieder	9	Die Verlassene	C	Allegretto	1876	^{[n 10]}
Zwei Lieder	9	Schlaflied (Berceuse)	D major	Andante	1876	^{[n 10]}
Skizzen, Vier Kleine Stücke	10	Melodie	G♭ major	Con moto	1876	^{[n 11]}
		Thema	E major	Tranquillo ed espressivo
		Mazurka	G major	Allegro
		Impromptu über Sachs	G minor	Allegro assai
Drei Stücke	11	Polonaise	E♭ major	Brioso ed energico	1876	^{[n 12]}
		Walzer	G major	Allegretto grazioso
		Ungarischer Tanz	B Minor	Allegro con fuoco
Spanische Tänze	12	Flamenco (Gypsy Dance)	C major	Allegro brioso	1876	^{[n 13]}
		Romance in Córdoba	G minor	Moderato
		Juana (Andalusian Vito)	A major	Con moto
		Malagueña	B♭ major	Allegro comodo
		Bolero	D major	Con spirito
	12a	Idem	Idem	Idem		^{[n 14]}
Drei Lieder	13	Bitte: Weil auf mir, du dunkles Auge	D major	Molto moderato	1877	^{[n 15]}
		Und wüssten's die Blumen	E♭ minor	Andante melancolico
		Mädchenaug'! Mädchenaug'!	D major	Con vivacita
Humoreske	14	—	D major	Allegro fastoso	1877	^{[n 16]}
Sechs Stücke	15	Serenata	D major	Andante grazioso	1877	^{[n 17]}
		Arabeske	G major	Allegro molto
		Mazurka	G minor	Allegro
		Canon	D major	Con moto
		Walzer	D♭ major	Molto moderato
		Barcarole	A minor	Andante semplice
	15a	Serenata	Idem	Idem	1911	^{[n 18]}
	15b	Waltzer	Idem	Idem	1902	^{[n 19]}
Zwei Konzertstücke	16	Ballade	G minor	Andante con moto	1878	^{[n 20]}
	16	Bolero	D major	Allegro spiritoso		^{[n 20]}
	16a	Ballade	Idem	Idem		^{[n 21]}
Drei Klavierstücke in Tanzform	17	Polonaise	D major	Allegro con fuoco	1878	^{[n 22]}
		Menuett	G major	Allegro moderato
		Waltzer	A major	Molto allegro
	17a	Menuett	Idem	Idem		^{[n 23]}
Fünf Klavierstücke	18	Melodie	F major	Moderato	1878	^{[n 24]}
		Scherzino	F major	Allegro
		Étude	G major	Con agilita
		Marcia	G major	Allegro moderato
		Polonaise	B♭ major	Con grazia
	18a	Melodie	Idem	Idem		^{[n 25]}
Johanna d'Arc	19	First movement	E major	Allegro comodo	1875–76	^{[n 26]}
		Second movement		Andante malinconico
		Third movement		Molto moderato
		Fourth movement		Allegro molto
	19a	Prozessionsmarsch aus Johanna d‘Arc	Idem	Idem	1879	^{[n 27]}
Allegro Scherzando	20	—	E major	Allegro	1879	^{[n 28]}
Album Espagnol	21	—	G major	Allegro moderato	1879	^{[n 29]}
			D major	Vivace assai
			F♯ minor	Con moto
			D major	Moderato e grazioso
Tränen. Fünf Gedichte von Adelbert von Chamisso	22	Was ist's, o Vater, was ich verbrach?	D major	Allegro molto	1879	^{[n 30]}
		Ich habe, bevor der Morgen		Molto moderato
		Nicht der Tau und nicht der Regen		Allegro appassionato
		Denke, denke, mein Geliebter	B major	Andante con moto
		Wie so bleich ich geworden bin?	G major	Allegretto
Aus aller Herren Länder	23	Russland	A minor	Allegretto	1879	^{[n 31]}
		Deutschland	F major	Andante
		Spanien	A minor	Molto vivace
		Polen	C♯ minor	Allegro con fuoco
		Italien	A major	Presto
		Ungarn	D major	Molto allegro
	23a	Idem	Idem	Idem	1884	^{[n 32]}
	23b	Russisch	Idem	Idem	1879	^{[n 33]}
Drei Konzertetüden	24	No. 1 Les Vague	G♭ major	Allegro patetico	1880	^{[n 34]}
		No. 2 Il Lamento	C♯ minor	Moderato assai
		No. 3	C major	Vivace
Deutsche Reigen	25	—	D major	Moderato	1880	^{[n 35]}
			A major	Allegretto con moto
			F major	Moderato e grazioso
			A♭ major	Allegro animato
			E♭ major	Allegro con brio, un poco meno allegro
Drei Gedichte im Volkston	26	Ich frage nicht, hast Du mich lieb	G♭ major	Andante	1881	^{[n 36]}
		O süsseste Noth, o selige Pein	C♯ minor	—
		Auf, hinaus aus dem Haus	C major	—
Barcarole und Tarantelle	27	Barcarole	G major	Allegro con moto	1881	^{[n 37]}
Barcarole und Tarantelle	27	Tarantelle	G♭ major	Presto	1881	^{[n 37]}
Miniaturen	28	—	G major	Allegro moderato	1882	^{[n 38]}
			C major	Allegro giocoso
			E minor	Vivace con spirito
			E major	Allegretto grazioso
			G major	Molto allegro
Drei Stücke	29	Air	G major	Tranquillo e cantabile	1882	^{[n 39]}
		Tarentelle	B major	Molto vivace
		Berceuse	F major	Andante
Violin Concerto	30	First movement	C major	Allegro commodo	1883	^{[n 40]}
		Second movement	E minor	Andante
		Third movement	C major	Vivace
	30a	Idem	Idem	Idem		^{[n 41]}
Six Morceaux	31	Monologue	E minor	Andante sostenuto	1883	^{[n 42]}
		Mélodie	G major	Molto vivace
		Valse mélancolique	B♭ major	Moderato
		Scherzetto	A♭ major	Allegro con spirito
		Impromptu	D♭ major	Tranquillo, ma non troppo lento
		Caprice	G major	Allegretto
	31a	Scherzetto	Idem	Idem		^{[n 43]}
	31b	Caprice	Idem	Idem		^{[n 44]}
Drei Klavierstücke	32	In tempo di minuetto	E major	Moderato	1883	^{[n 45]}
		Étude	D major	Allegro
		Walzer	E major	Grazioso
Vier Klavierstücke	33	Kindermarsch	F major	Allegro	1883	^{[n 46]}
		Humoreske	D major	Allegretto
		Tarantelle	G minor	Allegro molto
		Spinnerlied	A major	Vivo
Trois Morceaux	34	Valse	E major	Allegro moderato	1884	^{[n 47]}
		Étude	C major	Molto allegro
		Mazurka	E major	Lento
	34a	Valse	Idem	Idem		^{[n 48]}
Quatre Morceaux	35	Caprice mélancolique	A minor	Allegretto con moto	1885	^{[n 49]}
		Moment musical	C major	Con moto
		Pièce drôlatique	G♭ major	Moderato con leggerezza
		Impromptu	G major	Allegro grazioso
Huit Morceaux Caractéristiques	36	Pièce rococo	D♭ major	Moderato	1886	^{[n 50]}
		Rêverie	A♭ major	Molto tranquillo
		Expansion	D♭ major	Allegro anomato
		En automne	B♭ minor	Veloce
		Air de ballet	G minor	Allegretto
		Étincelles	B♭ major	Allegro scherzando
		Valse sentimentale	C major	Commodo
		Pièce rustique	E major	Moderato
Caprice Espagnol	37	—	A minor	Vivace	1885	^{[n 51]}
Quatre Morceaux	38	Bourrée	A major	Allegro molto	1886	^{[n 52]}
		Berceuse	G major	Andante
		Mazurka	G major	Allegro moderato
		Mélodie italienne	A major	Allegro con spirito
Première Suite d'Orchestre	39	No. 1	F major	Allegro molto e brioso	1885	^{[n 53]}
		No. 2	F major	Allegro giojoso
		No. 3 Tema con variazioni	A major	Andante
		No. 4 Intermezzo	A major	Allegretto con moto
		No. 5 Perpetuum mobile	F major	Vivace
	39a	Idem	Idem	Idem		^{[n 54]}
	39b	Intermezzo	Idem	Idem		^{[n 55]}
Scherzo-Valse	40	—	G♭ major	Allegro	1886	^{[n 56]}
Gondoliera	41	—	G minor	Andante con moto	1886	^{[n 57]}
Trois Morceaux Poétiques	42	Romance	D minor	Allegretto	1887	^{[n 58]}
		Siciliano	F♯ minor	Con malinconia
		Momento giojoso	E♭ major	Molto vivace
Deux Morceaux	43	Cortège	A minor	Allegro ma non troppo	1887	^{[n 59]}
	43	Gavotte	—	Moderato	1887	^{[n 59]}
	43a	Cortège	Idem	Idem	1888	^{[n 60]}
Der Schäfer putzte sich zum Tanz	44	—	D major	Allegretto	1887	^{[n 61]}
Der Schäfer putzte sich zum Tanz	44a	—	Idem	Idem	1887	^{[n 62]}
Zwei Klavierstücke	45	Polonaise	D♭ major	Moderato	1888	^{[n 63]}
	45	Guitarre	G major	Allegro comodo		^{[n 63]}
	45a	Guitarre	Idem	Idem		^{[n 64]}
	45b	Guitarre	Idem	Idem		^{[n 65]}
Valse et Mazurka	46	Valse	F major	—	1890	^{[n 66]}
Valse et Mazurka	46	Mazurka	G major	—	1890	^{[n 66]}
Deuxième Suite d'Orchestre	47	Preludio	G minor	Lento	1890	^{[n 67]}
		Fuga	—	Un pochino più animato
		Scherzo	—	Molto vivace
		Larghetto	—	Larghetto
		Intermezzo	D major	Allegretto con moto
		Marcia	G major	Allegro con brio
	47a	Preludio et Intermezzo	Idem	Idem		^{[n 68]}
Deux Études de Concert	48	—	D major	Presto	1890	^{[n 69]}
Deux Études de Concert	48	—	C major	Allegro brillante	1890	^{[n 69]}
Boabdil, der letzte Maurenkönig	49	—	—	—	1888–92	^{[n 70]}
Balletmusik aus der Oper Boabdil	49a	Malagueña	—	Allegro pomposo	1892	^{[n 71]}
		Scherzo-Valse	E minor	—
		Maurische Fantasia	A major	—
Maurischer Marsch aus der Oper Boadbil	49b	—	B♭ major	Allegro moderato		^{[n 72]}
Einzugsmarsch aus der Oper Boabdil	49c	—	D major	Allegro	1893	^{[n 73]}
Suite	50	First movement	G major	Allegro moderato	1892	^{[n 74]}
		Second movement. Air	G major	Andante malinconico
		Third movement. Capriccio	G major	Molto vivace
		Presto alla Giga	G major	Con bravura
Fackeltanz	51	—	E♭ major	Allegro molto moderato	1893	^{[n 75]}
Fackeltanz	51a	—	Idem	Idem	1893	^{[n 76]}
Sechs Fantasiestücke	52	Landschaftsbildchen	D major	Allegro moderato	1894	^{[n 77]}
		Nachtstück	A major	Agitato
		Zwiegesang	B♭ major	Andante espressivo
		Die Jongleurin	E♭ major	Allegro con spirito
		Maskenscherz und Demaskirung	C minor	Allegro appassionato
		Beim Feste	C major	Allegro molto
Laurin. Ballet in Six Tableaux	53	—	—	—	1892–95	^{[n 78]}
Vier Stücke aus dem Ballett Laurin	53a	Tanz der Rosenelfen	E major	Allegretto grazioso	1895	^{[n 79]}
		Marsch der Zwerge	E♭ major	Allegro moderato
		Sarabande und Double	F major	Andante
		Sarabande und Double	D minor	Un poco animato
		Valse Coquette	G major	Allegro scherzando
Drei Stücke	54	Danse fantastique	G major	Allegretto con moto	1895	^{[n 80]}
		Mélodie	E minor	Andante con moto
		Capriccietto	E major	Allegro giojoso
Polnische Volkstänze	55	Mazurka	E major	Allegro	1896	^{[n 81]}
		Mazurka	G major	Allegro un poco moderato
		Polonaise	B minor	Allegretto con moto
		Krakowiak	G major	Allegro con spirito
	55a	Mazurka	Idem	Idem	1898	^{[n 82]}
	55a	Krakowiak	Idem	Idem	1898	^{[n 82]}
	55b	Idem	Idem	Idem	1896	^{[n 83]}
Don Juan und Faust	56	Overture	—	Allegro appassionato	1896	^{[n 84]}
		Entr'acte	G major	Andante
		Sarabande	D major	Grave
		Passepied	A major	Allegro molto
		Intermezzo	A♭ major	Moderato
		Fantasmagorie	E major	Andante quasi allegretto
		Minuetto	B♭ major	Allegro
Six Airs de Ballet	56a	Idem	Idem	Idem	1897	^{[n 85]}
	56b	Idem	Idem	Idem		^{[n 86]}
	56c	Sarabande	Idem	Idem		^{[n 87]}
	56c	Passepied	Idem	Idem		^{[n 87]}
Frühling. Fünf Stücke	57	Ungeduld	E♭ major	Allegro affettuoso	1896	^{[n 88]}
		Frühlingsläuten	B♭ major	Allegretto con moto
		Blumenstück	F major	Moderato
		Zephyr	D♭ major	Allegretto animato
		Liebeswalzer	A♭ major	Tempo giusto
Tristesses et Sourires	58	Effusion	E major	Con moto agitato	1896	^{[n 89]}
		Consolation	A♭ major	Allegro moderato
		Près du berceau	A♭ major	Allegretto grazioso
		Vieux souvenir	C♯ minor	Allegro comodo
		Historiette d'enfants	D major	Vivace
		Mélancolie	A minor	Andante semplice
		Rêve étrange	G major	Allegro con spirito
		Résignation	B minor	Andante con moto
	58a	Près du berceau	Idem	Idem		^{[n 90]}
	58b	Près du berceau	Idem	Idem		^{[n 91]}
Piano Concerto No. 2	59	First movement	E major	Moderato	1897	^{[n 92]}
		Second movement	C♯ minor	Andante
		Third movement	C♯ minor	Scherzo vivace
		Fourth movement	E major	Allegro deciso
	59a	Idem	Idem	Idem		^{[n 93]}
Trois Mazurkas	60	Mazurka	G minor	Allegro moderato	1898	^{[n 94]}
			F major	Allegretto graziotto
			D major	Con fuoco
	60a	Idem	F major	Idem		^{[n 95]}
	60b	Idem	D major	Idem		^{[n 96]}
Trois Arabesques	61	No. 1	A♭ major	Allegretto anomato	1899	^{[n 97]}
		No. 2	D♭ major	Allegro piacevoe
		No. 3	G major	Allegro
Romance et Scherzo	62	Romance	A major	Andante espressivo	1899	^{[n 98]}
Romance et Scherzo	62	Scherzo	G minor	Presto con leggierezza	1899	^{[n 98]}
Trois Bagatelles	63	No. 1	D major	Allegro comodo	1899	^{[n 99]}
		No. 2	C minor	Allegro non troppo
		No. 3	F major	Allegretto scherzando
École des Doubles-Notes	64	Les gammes en tierces Les gammes en sixtes Les gammes majeures en quartes Gammes chromatiques	— — — —	— — — —	1900	^{[n 100]}
		Collection d'exercices en doubles notes	—	—
		Quatre grandes études	A♭ major B♭ major B♭ major E♭ major	Allgro molto Allegro Vivace Appassionato
Neue Spanische Tänze	65	No. 1	E♭ major	Allegro ma non troppo	1900	^{[n 101]}
		No. 2	A minor	Andante con moto
		Habanera	F major	Allegretto
	65a	Habanera	Idem	Idem	1901	^{[n 102]}
	65b	Habanera	Idem	Idem	1904	^{[n 103]}
	65c	Spanischer Tanz	Idem	Idem	1911	^{[n 104]}
Trois Pensées Fugitives	66	No. 1	F♯ minor	Agitato	1900	^{[n 105]}
		No. 2	E major	Allegretto con moto
		No. 3	F major	Vivo
Deux Morceaux	67	Poème de mai	B♭ major	Con moto	1901	^{[n 106]}
	67	Étude	G minor	Vivace	1901	^{[n 106]}
	67a	Idem	Idem	Idem	1906	^{[n 107]}
	67b	Idem	Idem	Idem	1904	^{[n 108]}
Quatre Morceaux	68	Nocturne	F minor	Andante con moto	1902	^{[n 109]}
		Minuetto	F major	Allegro moderato
		Au crépuscule	A major	Lento
		Danse russe	B minor	Allegro con spirito
Valse de Concert	69	—	F major	Allegro	1902	^{[n 110]}
Deux Morceaux	70	Caprice-Étude	D minor	Veloce	1902	^{[n 111]}
Deux Morceaux	70	Improvisation	G major	Andante con moto	1902	^{[n 111]}
Suite für Zwei Violinen und Klavier	71	No. 1	G minor	Allegro energico	1903	^{[n 112]}
		No. 2	G major	Allegro moderato
		No. 3	E minor	Lento assai
		No. 4	G major	Molto vivace
Quinze Études de Virtuosité	72	No. 1	E major	Vivace	1903	^{[n 113]}
		No. 2	G minor	Allegro brillante
		No. 3	G major	Vivo e con fuoco
		No. 4	C major	Allegro moderato
		No. 5	C major	Veloce e leggiero
		No. 6	F major	Presto
		No. 7	E♭ major	Allegro energico
		No. 8	C major	Allegro energico
		No. 9	D minor	Allegro
		No. 10	C major	Allegro
		No. 11	A♭ major	Presto e con leggierezza
		No. 12	D♭ major	Presto
		No. 13	A♭ minor	Molto animato
		No. 14	C minor	Moderato
		No. 15	B major	Allegro
Trois Morceaux	73	Esquisse vénitienne	A minor	Allegreto	1904	^{[n 114]}
		Impromptu	A♭ major	Allegro con spirito
		Course folle	G♭ major	Allegro molto
Kaleidoskop	74	—	E♭ major	Molto allegro con fuoco	1904	^{[n 115]}
			G minor	Presto
			D major	Andante
			F♯ minor	Allegro moderato e grazioso
			B major	Allegro con spirito
			E minor	Mesto
			A major	Tempo di valse
Deux Morceaux	75	Caprice	A major	Allegro con leggiereza	1906	^{[n 116]}
Deux Morceaux	75	L'agilità	G minor	Molto allegro	1906	^{[n 116]}
Trois Morceaux	76	Souvenir du Pausilippe	A minor	Allegretto con moto	1906	^{[n 117]}
		Valse-Caprice	A major	Molto vivace
		Fabliau	G major	Allegro moderato
Dix Pièces Mignonnes	77	Tristesse	A minor	Andante	1907	^{[n 118]}
		Scherzino	C major	Allegro vivace
		Romance sans paroles	E major	Andante espressivo
		Inquiétude	A minor	Allegro molto
		Intimité	F major	Allegro comodo
		Tarentelle	D minor	Presto
		Impromptu	E♭ major	Allegro moderato
		Pantomime	E minor	Allegro con spirito
		Mélodie	D major	Allegretto
		Menuet	G major	Molto moderato
Drei Etüden	78	No. 1	F major	Vivace	1907 (?)	^{[n 119]}
		No. 2	A♭ major	Allegro grazioso
		No. 3	A♭ major	Moderato e cantabile
Troisième Suite d'Orchestre	79	No. 1	A♭ major	Allegro	1908	^{[n 120]}
		No. 2	F major	Molto moderato (La note obstinée)
		No. 3	D♭ major	Tempo di valse, non troppo allegro
		No. 4	A♭ major	Allegro deciso
Valse pour Piano	79a	No. 3	Idem	Idem		^{[n 121]}
Deux Morceaux	80	Pièce romantique	A♭ major	Allegretto moderato	1908	^{[n 122]}
Deux Morceaux	80	Mit Fächer und Mantilla (Con Mantilla y Abanico)	F major	Allegro leggiero	1908	^{[n 122]}
Six Morceaux	81	Canon	A♭ major	Allegro grazioso	1909	^{[n 123]}
		Allegro agitato	F minor	Allegro agitato
		Étude de legato	D♭ major	Moderato
		Humoresque	D minor	Allegro scherzando
		Romance	F minor	Moderato e dolente
		Melodia appassionata	E minor	Allegro leggiero
Quatre Morceaux	82	Les nymphes	A minor	Allegro leggiero	1909	^{[n 124]}
		Caprice	A minor	Allegretto
		Mélodie	G major	Moderato
		Humoresque	D major	Allegro con spirito
Six Morceaux	83	Élégie	F minor	Molto moderato ed espressivo	1909	^{[n 125]}
		Sur l'eau	F major	Allegretto animato
		Vieux pastel	G♭ major	Comodo
		Canon	B♭ major	Andante cantabile
		Chanson populaire	G major	Allegretto semplice
		Chanson napolitaine	G major	Vivacissimo
Quatre Moments Musicaux	84	No. 1	B♭ major	Con moto	1910	^{[n 126]}
		No. 2	F major	Moderato e grazioso
		No. 3	C minor	Maestoso
		No. 4	G major	Animato ma non troppo
Präludium und Fuge	85	Präludium	D minor	Moderato	1910	^{[n 127]}
Präludium und Fuge	85	Fuge	F major	Allegro energico	1910	^{[n 127]}
Trois Morceaux	86	Feuillet d'album	E♭ major	Animato e con leggierezza	1911	^{[n 128]}
		Gavotte	G minor	Allegro deciso
		Scherzo-Étude	E minor	Presto
Trois Morceaux	87	Complainte	C♯ minor	Andante	1911	^{[n 129]}
		Offrande	D major	Animato ma non tropo
		Impromptu	F major	Allegro grazioso
Grande Valse de Concert	88	—	G♭ major	Moderato	1912	^{[n 130]}
Tanz-momente	89	Valse-prélude	B♭ major	Allegro con fuoco	1912	^{[n 131]}
		Valse mignonne	G♭ major	Animato e grazioso
		Valse triste	B♭ major	Moderato ed espressivo
		Valse tendre	F major	Tempo commodo
		Valse-Tourbillon	A major	Vivace
Introduction et Allegro pour l‘Orgue Aeolien	90	—	—	—	1913?	^{[n 132]}
Vingt Petites Études	91	No. 1	G major	Con moto	1913	^{[n 133]}
		No. 2	C major	Vivace
		No. 3	C major	Vivace
		No. 4	F major	Allegro
		No. 5	B♭ major	Tempo animato
		No. 6	E♭ major	Allegro ma troppo
		No. 7	G major	Allegro brillante
		No. 8	B minor	Moderato
		No. 9	G major	Comodo
		No. 10	G minor	Andante con moto
		No. 11	C major	Allegro ma non troppo
		No. 12	C major	Veloce
		No. 13	F minor	Con moto ma non troppo
		No. 14	C major	Animato e leggiero
		No. 15	E♭ major	Allegro non troppo, ma molto energico
		No. 16	G minor	Allegro energico
		No. 17	E♭ major	Moderato e cantabile
		No. 18	A minor	Vivo
		No. 19	E major	Presto
		No. 20	G♭ major	Allegro moderato
12 Études de Piano pour la Main Gauche Seule	92	No. 1	C major	Allegro energico	1915	^{[n 134]}
		No. 2	A minor	Allegro ma un poco moderato
		No. 3	A minor	Allegro ma non troppo
		No. 4	E minor	Allegro moderato
		No. 5	G major	Andante espressivo
		No. 6	G minor	Presto
		No. 7	G major	Allegretto scherzando
		No. 8	G minor	Veloce
		No. 9	E♭ major	Tempo animato
		No. 10	A♭ major	Veloce et con leggierezza
		No. 11	D♭ major	Moderato e cantabile
		No. 12	B♭ minor	Allegro impetuoso
Six Morceaux	93	Miniature (Memories)	E♭ major	Moderato e grazioso	1916	^{[n 135]}
		Mélodie Élégiaque (Plaintive Thoughts)	F minor	Andante
		Au fil de l'eau (By the Stream)	G major	Con moto moderato
		Étude (Exultation)	A minor	Tempo animato
		Impromptu (Mockery)	B♭ major	Allegretto animato
		Mousse de champagne (Glittering Dewdrops)	D major	Presto
Dix Petits Morceaux	94	Prélude (On Restless Seas)	G minor	Allegro energico	1916 ca.	^{[n 136]}
		Calme du soir (Evening in the Vale)	D major	Molto moderato
		Idylle (Waterlilies)	G major	Andante quasi allegretto
		Étude (April weather)	G major	Vivo
		Aux vieux temps (From long ago)	D major	Allegro con spiriro
		Danse de la magicienne (Enchantress)	D minor	Moderato
		Bagatelle (Southern Breezes)	F major	Allegretto anomato
		Cantilena (Dawn in the Forest)	A major	Andante
		Pensée fugitive (Moonbeams)	F♯ minor	Andante con moto
		Rondo joyeuse (Midsummer)	D major	Vivacissimo
Cinq Pièces Brèves	95	Mélodie plaintive	C minor	Andante con moto	1920	^{[n 137]}
		Scherzino	C major	Allegro animato
		Minuetto	B♭ major	Moderato
		Arabesque	F major	Allegretto grazioso
		Câlinerie	B♭ major	Tempo comodo
Le maître et l'élève	96	Prologue	C major	Allegro brioso	1920	^{[n 138]}
		Moment musical	C minor	Molto moderato
		Mélodie	E♭ major	Allegro moderato
		Air de ballet	G minor	Andante con moto
		Arabesque	B♭ major	Allegretto animato
		Berceuse	D major	Andante
		Valse	A major	Tempo moderato
		Tarentelle	C major	Molto vivace
Esquisses techniques	97	No. 1	C major	Tempo comodo	1920	^{[n 139]}
		No. 2	A minor	Molto allegro energico
		No. 3	C major	Allegro molto
		No. 4	F minor	Allegro ma non troppo
		No. 5	C major	Allegrissimo
		No. 6	A♭ major	Allegro assai
		No. 7	C major	Puittosto allegro
		No. 8	C major	Allegro ma non troppo
		No. 9	C minor	Tempo animato
		No. 10	G minor	Molto animato e leggero
		No. 11	B♭ major	Molto vivace
		No. 12	G minor	Allegretto
		No. 13	D major	Allegro grazioso
		No. 14	C major	Con moto ma non troppo
		No. 15	F♯ minor	Con moto ma non troppo
		No. 16	D♭ major	Presto
		No. 17	A major	Vivo

Works without opus number

More information Title, WV ...

Title	WV	Name	Key	Tempo	Year	Note
Mazurka	63	—	G major	—	1873	^{[n 140]}
Conservatoristen-Polka	64	—	G major	—	1875	^{[n 141]}
Valse brillante	65	—	A♭ major	Allegro con brio	1877	^{[n 142]}
La Danse	66	—	—	—	1888	^{[n 143]}
Pensée fugitive	67	—	E minor	Andante malinconico	1898	^{[n 144]}
Valse de Concert	68	—	E major	Allegro	1901	^{[n 145]}
Valse-Impromptu	69	—	A♭ major	Allegro moderato	1901	^{[n 146]}
Lumières du matin	70	—	A♭ major	Allegro moderato	1906	^{[n 147]}
Valse mignonne	71	—	G♭ major	Moderato	1912	^{[n 148]}
Momento-Scherzo	72	—	—	—	1913	^{[n 149]}
Étude mélodique	73	—	A♭ major	Molto animato e leggiero	1913	^{[n 150]}
Mélodie [et Morceau]	120	—	—	—	1906	^{[n 151]}
Stücke für Violine und Klavier	133	—	—	—	1865-69	^{[n 152]}
Quintett für Klavier und Streichquartett	136	No. 1 Introduction	D minor	Grave	1872 ca.	^{[n 153]}
		No. 2 Allegro con brio	F major	Alla breve
		No. 3 Minuetto	F major	Allegro assai
Overture	145	—	D major	—	1871–72	^{[n 154]}
Symphony	146	No. 1	D minor	Maestoso, Allegro appassionato, piu mosso	1873	^{[n 155]}
		No. 2 Scherzo	F major	Vivo
		No. 3	B♭ major	Larghetto
		No. 4 Finale	D minor - D major	Presto non tanto, piu mosso
Zwei Lieder	174	Lied der Pixies	—	—	1907	^{[n 156]}
Zwei Lieder	174	Der Regenbogen	—	—	1907	^{[n 156]}
Mein Engel, Du! (La Jota)	175	—	D minor	Allegretto	1884	^{[n 157]}
Anton Notenquetscher	205	Theme (Im Grunewald ist Holzauktion)	E minor	—	1896	^{[n 158]}
		Var. 1 Czerny	—	Con velocita
		Var. 2 Clementi	—	Allegro moderato
		Var. 3 Bach	—	Moderato
		Var. 4 Brahms	—	Allegretto tranquillo
		Var. 5 Weber	—	Allegro ma non troppo
		Var. 6 Chopin	—	Maestoso
		Var. 7 Rubinstein	—	Con bravura
		Var. 8 Liszt	—	Allegretto
Sechs Menuette für Orchester	210	No. 2 (Menuett)	G major	—	1918	^{[n 159]}
Violinsonate	211	No. 2	C minor	Adagio cantabile	1919	^{[n 160]}
Klavierkonzert No. 5	212		E♭ major	Adagio un poco moto	1921	^{[n 161]}
Don Giovanni	213	Menuett	G major	Moderato	1919	^{[n 162]}
Klavierkonzert No. 20	214	2nd movement (Romanze)	D minor	Romance	1919	^{[n 163]}
Rinaldo	215	Lascia ch’io pianga	F major	Largo	1919	^{[n 164]}
Judas Maccabäus	216	Chor: Seht den Sieger ruhmgekrönt!	G major	—	1919	^{[n 165]}
Ein Sommernachtstraum	217	Nocturno	C♯ minor	Con moto tranquillo	1919	^{[n 166]}
Chor aus Judas Maccabäus	230	Chor	—	—	—	^{[n 167]}
Minuett aus Don Giovanni	231	Menuett	G major	—	—	^{[n 168]}
Carmen	250	Chanson bohème	E minor	Allegretto	1906	^{[n 169]}
Hoffmann's Erzählungen	251	Barcarole	B minor	Moderato	1910	^{[n 170]}
Isoldens Tod	252	—	—	Lento e languido	1910 ca.	^{[n 171]}
Der Venusberg	253	Venusberg-Bacchanale	E major	Allegro	1910–11	^{[n 172]}
Ungarische Tänze	260	No. 1	G minor	Allegro	1904	^{[n 173]}
		No. 2	D minor	Allegro non asai - Vivo
		No. 3	F major	Allegretto
		No. 4	F minor	Poco sostenuto - Vivace
		No. 5	F♯ minor	Allegro - Viivace
		No. 6	D♭ major	Vivace - Molto sostenuto
		No. 7	A major	Allegretto
		No. 8	A minor	Presto
		No. 9	E minor	Allegro - Poco sostenuto
		No. 10	E major	Presto
Valse	261	No. 1 (Minute Waltz)	D♭ major	Vivace	1919	^{[n 174]}
Toccata	262	—	C major	Allegro commodo	1919	^{[n 175]}
Étude	263	—	—	—	1906	^{[n 176]}
Jupiter Symphonie	264	—	—	—	1891	^{[n 177]}
Havanaise	265	—	—	—	—	^{[n 178]}
Zwei Etüden	?	No. 1	E♭ major	Allegro con brio	?	^{[n 179]}
Zwei Etüden	?	No. 2	A♭ major	Allegro ma non troppo	?	^{[n 179]}

Additional information

Notes

[n 1]
MoszWV 1 → A scherzo composed under Moszkowski's alternative name: Anton Notenquetscher. Published by Simon.
[n 2]
MoszWV 2 → Album leaf is a short instrumental composition usually for piano, and quite often light in character. Published by Hainauer.
[n 3]
MoszWV 160 → Moszkowski began working in his first Piano concerto, with the orchestra consisting of piano, 1 piccolo, 2 flutes, 2 oboes (English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, violin 1, violin 2, violas, cellos, and double basses, in 1873 at the age of 19 (Moszkowski played this composition, with Franz Liszt on the second piano, in a matinee in Weimar, prompting him to praise Moszkowski admiringly). While Moszkowski later dismissed his Opus. 3 as worthless, he called his Piano Concerto in E major, Op. 59, his best work. In a letter to his publisher in April 1875, Moszkowski said: "I should be happy to send you my piano concerto but for two reasons: first, it is worthless; second, it is most convenient (the score being four hundred pages long) for making my piano stool higher when I am engaged in studying better works." Dedicated to Franz Liszt, it was neglected in an archive at the Bibliothèque nationale de France for 140 years, until the manuscript was found three years prior to its premiere performance at the National Philharmonic Hall in Warsaw, Poland, with the Rzeszow Philharmonic Orchestra conducted by Vladimir Kiradjiev, and soloist Ludmil Angelov, on January 9, 2014. It was then published by Symétrie, Lyon.
[n 4]
MoszWV 3 → Caprice is an instrumental free form musical composition with improvisatory style. Dedicated to Frau Helene v. Schack née v. Lynker. Published by Hainauer.
[n 5]
MoszWV 5 → Fantasie is a free composition written according to the composer's imagination. Published by Hainauer.
[n 6]
MoszWV 5 → Fantasie-Impromptu is a free-style composition. Composed and dedicated to Mademoiselle Johanna Wenzel. Published by Simon.
[n 7]
MoszWV 6 → A free composition published by Hainauer.
[n 8]
MoszWV 100 → Moszkowski began writing his first composition for piano four hands on 4 November 1875 (published in 1876), likely dedicated to Dr. Alfred Pringsheim most probably because the Trois Moments Musicaux, Op. 7 (MoszWV 6), had already been dedicated to Constantin Sternberg. After the success of this composition, and the subsequent Op. 11, it was natural for Moszkowski to write even more pieces for piano four hands. Published by Simon.
[n 9]
MoszWV 80a → Arranged for piano two hands. Published by Simon. Arrangement for MoszWV 80a was probably written the same year as MoszWV 100.
[N 10]
MoszWV 170 → A composition for soprano (Regina Moszkowska was for one year (probably 1902) singing teacher at the Stern Conservatory in Berlin) and piano with libretto by Wilhelm Sachs. No. 1 complete title is Die Verlassene: "Einsam dort am Bache kauert, and no. 2 is Schlaflied: "Schlaf, Bubchen, schlaf" with respective high key in D major, middle in C major, and low in B major. Published by Julius Hainauer.
[N 11]
MoszWV 7 → Four little pieces for piano published by Hainauer. No. 4 is translated as: Sachs, a family surname.
[N 12]
MoszWV 101 → A composition for piano four hands published by Hainauer. Dedicated to his friend Carl Wittkowsky.
[N 13]
MoszWV 102 → A composition for piano four hands dedicated to his brother Alexander Moszkowski. Later publishers found, among other things, a new title for every piece: No. 1 Madrid, No. 2 Sevilla, No. 3 Barcelona, No. 4 Valencia, No. 5 Málaga. They were published by Simon. In 1902 Moszkowski wrote: I think it was about the middle of my seventeenth year that, as often happens to both old and young musicians, I was in sore need of money. I could think of only two ways to get what I wanted: to borrow or to compose something. After turning over, for several days, the advantages and disadvantages of both ways of bettering my circumstances, I concluded I would borrow. Therefore, I went to those two of my colleagues with whom I was on most familiar terms: Philipp and Xaver Scharwenka, in hope that I should not find their fortunes at so low an ebb.
Philipp was at home, sitting on a sofa and smoking a pipe. I sat down by him and asked if he had a cigar. He said that he was out of cigars, but that I could smoke a pipe. So I took a pipe and looked around for tobacco, but sought and sought in vain. Finally Philipp said: "You needn’t hunt hunt any longer, Moritz; there is no tobacco here." Then I began to grow a little angry and said: "Do you know, Philipp, that is drawing it rather strong? You offer me an empty pipe, let me look for tobacco in vain and then coolly tell me there is none here, and yet you yourself are smoking. Give me some tobacco." "If you will smoke what I am smoking, I am satisfied." answered Philipp, who emptied his pipe and prepared anew by drawing out a hole in the sofa some of the sea-grass used to stuff it, which he put in his pipe. For a moment I was speechless with astonishment. Now it was clear that I could not borrow money from a man who was using his sofa for smoking. I went back home, sat down at my table, and began to look through my sketch book. A motive of Spanish character struck my eyes, and at the same moment arose the thought that I would write a set of Spanish dances. I worked rapidly, and in several days had finished my Opus 12, the Spanish Dances for four hands. I had only the last few notes to write as [Xaver] Scharwenka stepped into my room. "Good day, Moritz," he said; "you may be glad that you need not to go out, for it is wretched weather." "Since we are speaking of wretched things," said I, "what are you composing now?" "Oh, nothing," said Xaver, who was accustomed to this kind of conversational tone from me; "but you appear to be at work: do you need money?" Right you are," said I, "and you can do me a service by playing through these four-hand pieces and telling me what you think of them." We tried the dances, and then Xaver said: "I would rather have lent you some money, so that you would not have had to compose." But that was only a return thrust. An hour later I called on Simon the publisher, who promised to let me know in a few days if he would bring the pieces out. When I saw him several days later he said he had shown the pieces to several experienced critics and they had advised him to take them. The question now was, what I wanted from them. "I have a brilliant idea," I said: "I propose that you pay me an exceptionally good price which will get talked about in the papers and thus make a big stir about the pieces." But it made no impression on the publisher. He thought that so pretty pieces needed no such advertising, and besides that, Beethoven, Mozart, Schubert and others always had sold their compositions cheaply, and as a publisher he felt obliged to accept such traditions. In vain I sought to change his mind by suggesting that he ought not to compare me with Beethoven; he would listen to no distinction between us in that respect, and paid me a small price with which I finally withdrew, tolerably well satisfied, at least, to be relieved of my present necessities. When the Spanish Dances were published, several weeks later, they found a good sale. Some years later they were known everywhere, being taken up in various editions and arrangements. I consider this as one of the works which first made me known to the musical world in general. Of course the publisher profited largely by it, and all because Philipp Scharwenka had no tobacco and could not lend me money.
[N 14]
MoszWV 102a → Chamber music for clarinet and piano, first published by Bote & Bock. It was orchestrated by Philipp Scharwenka (No. 2 and No. 5) and Valentin Frank (No. 1, No. 3 and No. 4) in 1880. Published by Edition Peters.
[N 15]
MoszWV 171 → A composition for soprano and piano. No. 1 uses a text by Nikolaus Lenau, No. 2 by Heinrich Heine, and No. 3. Julius Wolff. Published by Hainauer.
[N 16]
MoszWV 8 → A Humoresque composition characterized by pieces with fanciful humor. Dedicated to Xaver Scharwenka. Published by Hainauer.
[N 17]
MoszWV 9 → A composition for piano solo. No. 1 Serenata was the first revised, personally corrected by the composer himself, Moritz Moszkowski, and authorized edition ever published in an American magazine (The Ladies' Home Journal, No. 8, July 1905). Published by Hainauer.
[N 18]
MoszWV 9a → A composition for piano 4 hands (after Op. 15, No. 1). Published by Hainauer.
[N 19]
MoszWV 9b → Chamber music for cello and piano (after Op. 15, No. 5). Published by Hainauer.
[N 20]
MoszWV 130 → Chamber music originally composed for violin and piano and published with a companion piece, a Bolero, Op 16, No 2. No. 1 Ballade has for tempo Andante con moto (part 1), and Tempo animato, quasi allegro (part 2). This is Moszkowski earliest orchestral work (Spanish Dances, Op 12, which appeared earlier, was orchestrated by Philipp Scharwenka and Valentin Frank). No. 1 was dedicated to German composer and violin-virtuoso Gustav Hille (born 21 May 1851), who had studied at the Kullak Academy along with Moszkowski, and No. 2 Bolero to Fräulein Marianne Stresow. Published by Hainauer.
[N 21]
MoszWV 130a → A ballad for violin and orchestra (after Op. 16) composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp (opt), and strings. It was dedicated to Marianne Stresow two years prior to her marriage with Philipp Scharwenka (1847-1917). Published by Hainauer.
[N 22]
MoszWV 10 → A composition for piano. Published by Hainauer.
[N 23]
MoszWV 10a → A Minuet for piano four hands (after Op. 17, No. 2). Published by Hainauer.
[N 24]
MoszWV 11 → A composition for piano solo. Published by Hainauer.
[N 25]
MoszWV 11a → Chamber music for cello and piano (after Op. 18, No. 1). Published by Hainauer.
[N 26]
MoszWV 140 → A Symphonic Poem in four movements from Friedrich Schiller's Jungfrau von Orleans for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp, and strings) without solo instrument. Titles read: No. 1 Joan's pastoral life. A vision brings them to awareness of their high position, No. 2 Internal discord - back memories, No. 3 Enter the winner to be crowned in Rheims, No. 4 Joan in captivity. Victory, death and transfiguration. The premiere of this composition was held in the Berlin Symphony Chapel under the direction of Franz Mannstädt on 23 February 1877, and the British premiere at St. James Hall in London, where he conducted the Philharmonic Society Orchestra on May 20, 1885. It was the first of a series of six concerts that he should give for the Company. Dedicated to his friend Philipp Scharwenka, it was published by Hainauer, appearing in print two years later.
[N 27]
MoszWV 140a → A composition for two pianos. Published by Hainauer.
[N 28]
MoszWV 12 → A Scherzo for piano. Dedicated to Monsieur Jules Zarębski. Published by Hainauer.
[N 29]
MoszWV 103 → A composition for piano four hands. Published by Hainauer.
[N 30]
MoszWV 172 → A composition for voice and piano dedicated to Frau Dr. Arthur Levysohn. It was published by Hainauer.
[N 31]
MoszWV 104 → A composition for piano four hands later orchestrated by the composer. Also published for piano solo. Published by Hainauer.
[N 32]
MoszWV 104a → A composition for orchestra. Published by Hainauer.
[N 33]
MoszWV 104b → Chamber music for cello and piano (after Op. 23, No. 1). Published by Hainauer.
[N 34]
MoszWV 13 → An Étude for piano and orchestra. Dedicated to Theodor Kullak. Published by Hainauer.
[N 35]
MoszWV 105 → A composition for piano four hands. Published by Hainauer.
[N 36]
MoszWV 173 → A composition for voice and piano with libretto by Carl Wittkowsky. Published by Hainauer.
[N 37]
MoszWV 14 → A composition entitled Barcarole and Tarantelle for piano. Dedicated to Baroness Henriette Senfft von Pilsach. Published by Hainauer.
[N 38]
MoszWV 15 → A small scale composition for piano. Dedicated to his friend Monsieur Henri Steinkühler. Published by Hainauer.
[N 39]
MoszWV 131 → Chamber music for cello and piano. Published by Hainauer.
[N 40]
MoszWV 161 → A composition in three movements for violin and orchestra composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Dedicated to Émile Sauret. Published by Bote & Bock.
[N 41]
MoszWV 161a → Chamber music for violin and piano. Published by Bote & Bock.
[N 42]
MoszWV 16 → A set of morceaux for piano. No. 4 was also arranged for two pianos 8 hands by F. Brissler. Published by Ries & Erler.
[N 43]
MoszWV 16a → A Scherzino for two pianos 4 hands (after Op. 31, No. 4). Published by Ries & Erler.
[N 44]
MoszWV 16b → A Capriccio for two pianos 4 hands (after Op. 31, No. 6). Published by Ries & Erler.
[N 45]
MoszWV 17 → A composition for piano dedicated to his friend Austrian pianist and composer Alfred Grünfeld. Published by Bote & Bock.
[N 46]
MoszWV 106 → A composition for piano four hands. No. 3 is also known as Pièce drôlatique (Humorous piece) in later editions. It was first published by Hainauer.
[N 47]
MoszWV 18 → Morceau No. 1 was dedicated to Monsieur Théodore Ritter, No. 2. to Monsieur Louis Coenen, and No. 3. to Mademoiselle Clotilde Kleeberg. Published by Hainauer.
[N 48]
MoszWV 18a → A waltz made easier by the composer for piano two hands. Published by Édition facilitée Hainauer.
[N 49]
MoszWV 19 → "A composition for piano dedicated for his wife Henriette Chaminade, sister of Cécile Chaminade. Published by Hainauer. "In the 1880s, a neurological problem with Moszkowski’s arm curtailed his career as a pianist, and he became increasingly devoted to composition. In 1884, he married Henriette Chaminade, the youngest sister of Cécile Chaminade; they had two children, Marcel and Sylvia. In 1890, Henriette left Moszkowski for the poet Ludwig Fulda, and a divorce was issued 2 years later. In 1897, Moszkowski moved to Paris. Henriette died in 1900. Moszkowski’s own health deteriorated, and in 1906, he lost his 17-year-old daughter. In Berlin his home was in Genthiner Strasse, where he resided with his mother and children. The desertion of his wife, who was the pianiste Chaminade’s sister, is a subject never alluded to by him, nor does he encourage mention of it by others." Professor Bernhard Pollack (1865–1928) of Friedrich Wilhelm University, Berlin: Neurohistologist, Ophthalmologist, Pianist Lazaros C. Triarhou (2012). → Back to List of compositions by Cécile Chaminade
[N 50]
MoszWV 20 → Morceau No. 1 dedicated to Madame Bertha Moszkowski, wife of his brother Alexander, No. 2 to Monsieur Arthur De Greef, No. 3 to Giuseppe Buonamici, No. 4 to Józef Wieniawski, No. 5 to W. Goldner, No. 6 to Max Schwarz, No. 7 to English pianist and composer Francesco Berger, and No. 8 to Alexander Lambert. A composition for piano. Published by Hainauer.
[N 51]
MoszWV 21 → A composition for piano solo dedicated to Mademoiselle Neally Stevens. Published by Peters.
[N 52]
MoszWV 22 → A composition for piano solo dedicated "To my dear mother". Published by Hainauer.
[N 53]
MoszWV 141 → Composed and dedicated to the Philharmonic Society of London. Published by Hainauer.
[N 54]
MoszWV 141a → Version for piano four hands. Published by Hainauer.
[N 55]
MoszWV 141b → Version for piano (after Op. 39, No. 4). Published by Hainauer.
[N 56]
MoszWV 23 → A Scherzo-Valse for piano two hands. Dedicated to Madame Annette Essipoff-Leschetitzky. Published by Peters.
[N 57]
MoszWV 24 → A composition for piano two hands most probably with ideas borrowed very slightly in feeling and form from Mendelssohn's Venetian Gondola songs. Dedicated to Monsieur Joseph Pollack. Published by Peters.
[N 58]
MoszWV 25 → A composition for piano two hands. Published by Bote & Bock.
[N 59]
MoszWV 107 → A composition for piano four hands dedicated to Messier Frédéric de Schennis. Published by Peters.
[N 60]
MoszWV 107a → A composition for orchestra subtitled as Fantastischer Zug. Published by C. F. Peters.
[N 61]
MoszWV 200 → A composition for soli, chorus and small orchestra whose title is translated as The shepherd dressed for the dance from a scene in Goethe's Faust. Published by Hainauer.
[N 62]
MoszWV 200a → A composition for piano solo arranged by the composer. Published by Hainauer.
[N 63]
MoszWV 26 → A composition for piano solo. No. 1 dedicated to Monsieur Felix Dreyschock, and No. 2 to Herrn Sally Liebling. Published by Peters.
[N 64]
MoszWV 26a → Chamber music for cello and piano. Published by Peters.
[N 65]
MoszWV 26b → Chamber music for violin and piano (arranged by Pablo de Sarasate). Published by Peters. Often mentioned as Op 45, No. 2
[N 66]
MoszWV 27 → A composition for piano solo. Published by Hainauer.
[N 67]
MoszWV 142 → An orchestral composition (written for piccolo, flutes, oboes, clarinets, bassoons, contrabassoon, horns, trompe, timpani, triangle, bass drum and cymbals, trombones and tuba, harp, violin I, violin II, viola, cello, double bass, and organ) dedicated to composer Hans von Bülow. Published by Hainauer.
[N 68]
MoszWV 142a → A composition for piano solo (after Op. 47, No. 1 & No. 5). Published by Hainauer.
[N 69]
MoszWV 28 → An étude for piano which Moszkowski began writing between June and July 1889 (?). A year later, he wrote to his publisher Max Abraham saying: "I will send you at the same time my newly completed Op. 48 for piano (2 Concert Etudes). Although the manuscript is well written and is very accurate, I would like to ask you to send the last proof. The price for this piece is 1500 Mk. I hope you hereby agree. [...] The title is: Deux Etudes de Concert pour le Piano composée par Maurice Moszkowski - Oeuvre 48". Étude No. 1 was dedicated to Monsieur Max Pauer, and No. 2 to Paul de Schlözer. It was then published by Peters.
[N 70]
MoszWV 201 → Opera in three acts with libretto by Carl Wittkowsky. Published by Peters.
[N 71]
MoszWV 201a → A composition for piano solo. There may be an arrangement (MoszWV 49d) for parts Maurischer Marsch [und Einzugsmarsch] for piano four hands. Published by Peters.
[N 72]
MoszWV 201b → Arranged for piano solo. Published by Peters.
[N 73]
MoszWV 201c → Arranged for piano solo. Published by Peters.
[N 74]
MoszWV 29 → A composition for piano solo, first published by Peters.
[N 75]
MoszWV 202 → Translated as Danse aux Flambeaux (Torchlight Dance), it is an orchestral composition (Stage music) dedicated to the Corps de Ballet of the Royal Opera in Berlin, to which it was commissioned without being discussed with the directorship of the theatre where it was first performed. The Berlin premiere of the play, which was staged in samples together with the ballet music from Boabdil, caused Moszkowski much concern. It premiered in the US on 2 February 1894, in Chicago, with Theodore Thomas as conductor of the Chicago Symphony Orchestra. Published by Peters.
[N 76]
MoszWV 202a → Arranged for piano published by Peters.
[N 77]
MoszWV 30 → A composition for piano solo whose titles in French are: No. 1 Landscape image, No. 2 Night Piece, No. 3 Duet, No. 4 The juggler, No. 5 Carnivalesque intrigue, and No. 6 At the party. Dedicated to Frau Carrie B. Johnson, it was published by Peters.
[N 78]
MoszWV 203 → Ballet music for orchestra over the poem Laurin about Theodoric the Great, with libretto by Emil Taubert and choreography by Emil Graeb. It premiered on 28 February 1896 at the Opera House of the Royal Shows in Berlin under the baton of music director Steinmann. Dedicated to Fräulein Régine Nicol. Published by Bote & Bock.
[N 79]
MoszWV 203a → Arranged for piano solo (there may be a piano reduction of this composition - MoszWV 203b) whose titles translate: No. 1 Dance of the Rose Elves, No. 2 March of the Dwarfs, No. 3 Sarabande (F major) und Double (D minor), are divided in two pieces, and No. 4. Valse Coquette. Published by Bote & Bock.
[N 80]
MoszWV 31 → A composition for piano solo dedicated to Frau Fannie Bloomfield Zeisler. Published by Peters.
[N 81]
MoszWV 108 → A composition for piano four hands dedicated to Frau Aniela Fürstenberg. Published by Peters.
[N 82]
MoszWV 108a → Arranged for orchestra (after Op. 55, No. 1 & No. 4) between May–June 1898. Published by Peters.
[N 83]
MoszWV 108b → Arranged for piano solo by Moszkowski in October 1896. Published by Peters the following year.
[N 84]
MoszWV 204 → Overture and incidental music. Published by Ries & Erler.
[N 85]
MoszWV 204a → Arranged for two pianos four hands (after Op. 56, No. 2, No. 3, No. 5, No. 6). Published by Ries & Erler.
[N 86]
MoszWV 204b → Arranged for piano four hands. Published by Ries & Erler.
[N 87]
MoszWV 204c → Chamber music for violon and piano (after Op. 56, No. 3 & No. 4). Published by Enoch.
[N 88]
MoszWV 32 → A composition for piano solo with titles translated as: Spring. Five Pieces No. 1 Impatience, No. 2 Spring chime, No. 3 Flower piece, No. 4 Zephyr (the God of the West Wind or the west wind personified), No. 5 Love waltz. First published by Peters.
[N 89]
MoszWV 33 → A composition for piano solo whose title comes from an 1883 novel by Antoine Gustave Droz. Published by Hainauer.
[N 90]
MoszWV 33a → Chamber music for violin and piano. Published by Enoch.
[N 91]
MoszWV 33b → An arrangement for orchestra. Published by Enoch.
[N 92]
MoszWV 162 → This piano concerto was first performed in Britain on 12 May 1898. Dedicated "à Monsieur Josef Casimir Hofmann", it was scored for brass, woodwind and strings, making also use of a harp and triangle. Composer and musical critic Hubbard William Harris provided the following musical analysis: "The first movement is a brilliant composition, opening with what may he taken as its principal theme, inasmuch as it furnishes most of the material for the development, and also reappears in the last movement as a climax to the whole work. The announcement of this resolute subject, by the flutes and oboes accompanied lightly by other woodwind, and deeper strings, is followed by a short solo cadenza, after which the unfolding of the musical picture begins. As this proceeds several subsidiary melodies come to notice, prominent among them being one which (while hinted at before) does not assume its formal shape until given out, grazioso, by the pianoforte alone following a short upward chromatic scale passage. This graceful subject also figures, conspicuously in the development, which after passing through a succession of interesting stages, culminates finally in a rousing climax. The second movement is an eloquent, nocturne-like effusion, of which the principal thematic element is the expressive subject given out softly at the commencement by the clarinet, and bassoons, staccato, and the strings, pizzicato - this being taken up shortly and carried on by the solo instrument. An agreeably contrasting intermediary section follows, after which the expressive first theme returns - now in the harp and strings against flowing figurations in the solo instrument. Lastly a short free conclusion passage leads us into the third movement. The vivace is a lively, sparkling composition in Moszkowski's characteristically brilliant manner, and commences with the statement of a nimble running theme by the solo instrument. After this vivacious subject and its derivatives have been worked over briefly another buoyant theme comes to notice in the flutes and clarinets, over a strumming guitar-like accompaniment in the pianoforte. The development from here runs mainly on this theme, leading finally to a short cantabile passage for the solo instrument (unaccompanied), following which the movement proceeds quickly to a dashing conclusion. The fourth and last movement opens with a short flourishing introductory passage which leads to the statement of a resolute theme by the solo instrument. After this has been developed at considerable length the pianoforte introduces a contrasting theme of flowing character, to which the clarinet attaches itself shortly. Presently the development of the resolute opening theme is resumed, leading to the entrance of still another subject, given out softy but decidedly by the clarinet and the violas, and worked up forthwith in alternation and combination with the resolute opening theme. The flowing second theme returns, the movement mounting thence to a climax, at the pinnacle of which the resolute opening theme of the first movement reappears in enlarged rhythm." Published by Peters.
[N 93]
Piano duet → Arrangement for two pianos four hand. Published by Peters.
[N 94]
MoszWV 34 → Three Mazurkas. A composition for piano. Published by Ries & Erler
[N 95]
MoszWV 34a → A composition for 2 pianos (after Op. 60, No. 2). Published by Ries & Erler.
[N 96]
MoszWV 34b → A composition for 2 pianos (after Op. 60, No. 3). Published by Ries & Erler.
[N 97]
MoszWV 35 → A composition for piano solo, first published by Peters.
[N 98]
MoszWV 36 → A composition for piano solo, first published by Peters.
[N 99]
MoszWV 37 → A composition for piano solo, first published by Peters.
[N ..0]
MoszWV 38a → A collection of exercises for piano divided in 3 Books dedicated to Louis Diémer [1843–1919], pianist, composer and professor at the Conservatoire de Paris. Together with MoszWV 38b, Le Livre des Gammes (1904), divided in two parts: Les Gammes en notes simples (Die Tonleitern in einfachen Noten) and Les Gammes en double notes [Extraites de l‘Ecole des Doubles-Notes], it forms a work partly consistent with Opus 64 (MoszWV 38a) in 4 parts. The so-called part 5, "Observations sur le doigté" (Observations on the fingering of scales in single and double notes), is not part of this set of studies, but just commentaries on the technique used in the exercises. First published by Enoch.
[N ..1]
MoszWV 109 → A composition for piano four hands. No. 3 is entitled Habanera. Dedicated to Monsieur Théodore Jelowicki, it was published by Peters.
[N ..2]
MoszWV 109a → Arranged for piano solo. Published by Peters.
[N ..3]
MoszWV 109b → Arranged for orchestra without solo instrument. Published by Peters.
[N ..4]
MoszWV 109c → Arranged for orchestra (after Op. 65, No. 2). Published by Peters.
[N ..5]
MoszWV 39 → A composition for piano solo dedicated to Mlle. Maud Johnson. It was published by Edition Peters.
[N ..6]
MoszWV 40 → A composition for piano solo. Dedicated to Mlle. Celeste Nellis, it was published by Ries & Erler.
[N ..7]
MoszWV 40a → A composition for two pianos 4 hands. Published by Ries & Erler.
[N ..8]
MoszWV 40b → A composition for two pianos 4 hands. Published by Ries & Erler.
[N ..9]
MoszWV 41 → A composition for piano solo dedicated to Romanian concert pianist Mademoiselle Constance Erbiceanu (1874-1961). She studied in Leipzig and was a pupil of Karl Reinecke (1894-1898). Published by Enoch.
[N ..0]
MoszWV 42 → A composition for piano dedicated to Mr. Charles Förster. It was first published by Julius Hainauer.
[N ..1]
MoszWV 43 → A composition for piano solo first published by Enoch.
[N ..2]
MoszWV 135 → Chamber music for 2 violins and piano (apparently commissioned) written and dedicated to Mlle. Isabelle Levallois. First published by Peters.
[N ..3]
MoszWV 44 → An étude for piano solo whose subtitle is Per aspera ad astra. In a letter that Moszkowski wrote to his publisher Henri Hinrichsen on 13 February 1902 in Paris, he mentioned that these etudes would be an average about four printed pages in length and should be a kind of modern school of velocity, as they were a continuation of the difficult études of Czerny, who had among his students Theodor Kullak, founder of the Neue Akademie der Tonkunst. Dedicated to Monsieur Alexandre Michalowski, it was published by Enoch.
[N ..4]
MoszWV 45 → Morceau No. 1 dedicated to Mademoiselle Annie Crosby, No. 2 to Mademoiselle Eugénie Wehrmann, and No. 3 to Madame Marie Nemès. Published by Hainauer.
[N ..5]
MoszWV 110 → A composition for piano four hands with subtitle Miniaturbilder, dedicated to Fräulein Louise Péraux-La Roche. It was first published by Peters.
[N ..6]
MoszWV 46 → A morceau for piano dedicated to Mademoiselle Hélène Collin. No. 2 is an étude. Published by Junne.
[N ..7]
MoszWV 47 → A morceau for piano dedicated to Mademoiselle Nellie Kauffmann-Kendall. Published by Forberg.
[N ..8]
MoszWV 48 → A composition for piano solo dedicated to Mademoiselle Gabrielle Turpin. Published by Schott.
[N ..9]
MoszWV 49 → An étude for piano. Published by Schott.
[N ..0]
MoszWV 143 → A composition orchestra. Moszkowski wrote to his publisher, Henri Hinrichsen, on 25 August 1907 in Paris: "I have currently finished my Opus 79, a four-movement orchestral suite which I have to perform in the first half of September. The premiere in Lausanne is to make any remaining correction. The score is currently with the copyist and once it is finished, I believe it will have about 165 pages (in press maybe 150.) The first two movements are quite symphonic, the third is a waltz that will probably be playing a lot separately, and may also become a piano piece. The second movement is likely to be suitable for a single output. That is, I hope that it may be convenient for you, and if this is the case, I suggest you a fee of 3,000 Marks for it. I do not think you'll find that amount too high, especially if you consider that I will have to pay about 450 Francs for the copy of the score and 200 Francs for a sample. I intend to travel to Lausanne on September 1, therefore I would be grateful if you would let me go." This composition was dedicated to Polish composer and conductor Monsieur Alex Z. Birnbaum, and published the following year by Bote & Bock.
[N ..1]
MoszWV 143a → A composition for piano solo (after Op. 79, No. 3). Published by Bote & Bock.
[N ..2]
MoszWV 50 → Two morceaux for piano, being No. 1. dedicated to Madame Dora Bright, and No. 2. to Madame Berthe Riché. Published by Bote & Bock.
[N ..3]
MoszWV 51 → A morceau for piano solo. No. 1 was dedicated to Monsieur J. Joachim Nin, No. 2. to Madame Marie Panthès-Kutner, No. 3. to Madame Eugénie Schaffner, No. 4. to Monsieur Josef Lhévinne, No. 5. to Monsieur Ossip Gabrilowitsch, and No. 6. to Monsieur Léopold Godowski. Published by Schott.
[N ..4]
MoszWV → Chamber music for violin and piano. Dedicateers are: 1. Monsieur Pierre Sechiari, 2. Monsieur Alberto Abraham Bachmann, 3. Monsieur Israel Mendels, 4. Monsieur George Enescu. Published by Peters.
[N ..5]
MoszWV 52 → A morceau for piano solo. No. 1, 2 and 3 was dedicated to Monsieur Paul Braud Cahier II, who taught at the Conservatory of Marseille, and No. 4, 5, and 6 to Madame Hélène Wittkowsky. Published by Hainauer.
[N ..6]
MoszWV 53 → Four morceaux for piano solo written at Villa Murg in Marlotte (Seine-et-Marne), France. Published by Schott.
[N ..7]
MoszWV 144 → Moszkowski wrote Prelude and Fugue for string quartet, which he describes as "serious", shortly after the death of his mother Salomia on 13 April 1910. Moszkowski demanded six hundred francs for the work, but Henri Hinrichsen, his publisher from C. F. Peters, had given him more and published the work in September 1911. Shortly before that, on 17 December of that year, his Opus 85 premiered in his presence at the Covent Garden Theatre, in London, under the direction of his former pupil Thomas Beecham. By the initiative of well-known French musician colleagues such as Saint-Saëns, Massenet, Widor, Fauré, Dubois, Debussy, Dièmer, Guilmant, Paladilhe, Wormser, Moszkowski received in the fall of 1910 the rank of Chevalier of the French Légion d'Honneur. Dedicated to the Polish composer Zygmunt Stojowski.
[N ..8]
MoszWV 54 → Three morceaux for piano solo. There was a print error when Feuillet d'album was published by Schott as plate number 29085 on Opus 85 and 86, and Gavotte as plate number 29086. Scherzo-etude was apparently published only as Op. 85. No. 1 was dedicated to Mlle. Hélène Augustin, No. 2 to Mr. William H. Sherwood, and No. 3 to Mlle. Catherine Linn.
[N ..9]
MoszWV 55 → Three morceaux for piano solo. No. 1 was dedicated to Mademoiselle Yvonne Galliet, No. 2 to Monsieur Carl Stasny and No. 3 to Monsieur Sam Fleishman. It was first published by Enoch.
[N ..0]
MoszWV 56 → A composition for piano solo dedicated to his friend Monsieur Isidore Philipp. Published by Theodore Presser, and later by Enoch.
[N ..1]
MoszWV 57 → A composition for piano. No. 3 changes from B♭ minor to B♭ major as well. Published by Hainauer.
[N ..2]
MoszWV 128 → A composition for aeolian organ. Unpublished work.
[N ..3]
MoszWV 58 → An étude for piano solo dedicated to Madame M. T. Amirian who was Moszkowski' student and late life partner. Published by Leduc.
[N ..4]
MoszWV 117 → A composition for piano solo left hand dedicated to Monsieur Harold Bauer. Published by Enoch.
[N ..5]
MoszWV 59 → Six morceaux for piano solo. No. 1 (as entitled in the Schmidt edition), 2 (as entitled in the Schmidt edition), and 3 were dedicated to Monsieur André Gresse, and No. 4, 5, and 6 to Mme. Riss-Arbeau. Published by Arthur P. Schmidt.
[N ..6]
MoszWV 60 → Ten morceaux for piano solo. No. 1, 2, 3, 4 and 5 were dedicated to piano teacher Mme. Berte Cahn, who taught at the German Conservatory in New York, and No. 6, 7, 8, 9 and 10 to piano teacher Mme. Hélène Chaumont. No. 8 (Cantilena) is "a short poetic composition usually written for voice or an instrumental passage" (Diccionario enciclopédico de la lengua castellana - 1895). The two sets were published under the name Decameron in the US, with descriptive English titles for each of the pieces. Published by Schott, London.
[N ..7]
MoszWV 61 → Six morceaux for piano solo. Published by Enoch.
[N ..8]
MoszWV 111: → Alternative title: Huit Petits Morceaux a Piano Quatre Mains avec des Basses sur cinq notes. A composition for piano four hands dedicated to Mademoiselle Diane de Rothschild. It was first published by Enoch.
[N ..9]
MoszWV 62 → A composition for piano divided in two books dedicated to Mesdemoiselles Marguerite and Henriette Debrie. Published by Leduc.
[N ..0]
MoszWV 63 → A composition for piano solo. This was Moszkowski first published composition. It appeared in the women's magazine Der Bazar der Bazar-Actien-Gesellschaft, a kind of monthly almanac to everyday life. Published by Verlag der Bazar-Actien-Gesellschaft.
[N ..1]
MoszWV 64 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Ludwig Troll, Cassel.
[N ..2]
MoszWV 65 → One of Moszkowski early compositions for piano solo which possibly dates from 1876-77. It was Moszkowski contribution for a 475-page collection of piano selections called the Family Gift-Book, along with those of Vincenz Lachner, Josef Löw, Xaver Scharwenka, and other composers. The book was compiled by Ernst Pauer and published by Augener, in London.
[N ..3]
MoszWV 66 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Le Gaulois.
[N ..4]
MoszWV 67 → Another contribution of Moszkowski for a 312-page book entitled Das Klavier und seine Meister with many portraits, illustrations and facsimiles of original sheet music by Wilhelm Kienzl, Philipp Scharwenka, Eugene D'Albert, and Richard Strauss. It was compiled by Oskar Bie and published by F. Bruckmann.
[N ..5]
MoszWV 68 → A composition for piano solo dedicated to Monsieur F. Toledo. Published by E. Chatenay.
[N ..6]
MoszWV 69 → A composition for piano solo. Published by G. Schirmer.
[N ..7]
MoszWV 70 → A composition for piano solo translated as Morning Lights (The Ladies’ Home Journal). Published by G. Schirmer.
[N ..8]
MoszWV 71 → A composition for piano solo. Published by Hainauer.
[N ..9]
MoszWV 72 → A composition for piano solo. Published by Senart.
[N ..0]
MoszWV 73 → A composition for piano solo divided into two parts. The first section consists of a melody played in A♭ major and the second section in two different keys, C minor and A♭ major again, with the third section leading to a coda. It was published by Saint Louis: Art Publication Society.
[N ..1]
MoszWV 120 → A composition for two pianos 4 hands (also appeared in an edition with Poème de Mai, Op 67. Deux Morceaux pour deux pianos à quatre mains par Maurice Moszkowski). Published by Ries & Erler.
[N ..2]
MoszWV 133 → One of Moszkowski early works together with MoszWV 136. At the time of his life he was taking lessons at the Dresden Conservatory with Prof. Leonhardt (piano), Mr. Risch Biele (harmony), and violin lessons. He left school and was taught by private tutors. Unpublished work.
[N ..3]
MoszWV 136 → Quintet for piano, 2 violins, viola, and violoncello. One of Moszkowski early works together with MoszWV 133. Unpublished work.
[N ..4]
MoszWV 145 → A composition for large orchestra written in the winter 1871-72. Moszkowski Overture for orchestra had been considered lost, but was found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote an overture at the Academy. In the original handwritten abbreviations instrumentation: Flauto I,Flauto II, Oboe, Clarinet in A, Bassoon, Cornet in D, Horn in D, Timpani in D and A, Trombone Alto, Trombone Tenore, Trombone Basso, Violin I, Violin II, Viola, Cello, and Basso. Unpublished work.
[N ..5]
MoszWV 146 → A composition for orchestra written in the summer of 1873. Moszkowski Overture for Orchestra and Symphony had been considered lost and found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote a symphony at the Academy. Unpublished work.
[N ..6]
MoszWV 174 → A composition for female voice and piano. No. 1 translated as Song of the Pixies (adapted from words of Samuel Taylor Coleridge) and No. 2 The Rainbow (adapted from words of Mrs. Heman). Published by Augener.
[N ..7]
MoszWV 175 → A composition (La jota) for soprano and piano. Published by Saint Louis: Kunkel Bros.
[N ..8]
MoszWV 205 → Anton Notenquetscher at the piano. Variations in the style of modern composers, from Czerny to Liszt. Published by Steinitz. A composition written on the occasion of a ceremony to Carl Bechstein's seventieth birthday on June 1, 1896.
[N ..9]
MoszWV 210 → Transcription for piano of Beethoven's Sechs Menuette für Orchester (the original version is lost, only an arrangement for piano is extant) in G major, WoO 10, No. 2.
[N ..0]
MoszWV 211 → Transcription for piano of Beethoven's Adagio cantabile aus der Violinsonate in C minor, Opus 30, No. 2.
[N ..1]
MoszWV 212 → Transcription for piano of Beethoven's Piano Concerto No. 5 (Emperor) in E♭ major, Opus 73. This fragment of Beethoven's Emperor Concerto was transcribed by Moszkowski in 1921.
[N ..2]
MoszWV 213 → Transcription for piano of Mozart's Menuett aus der Oper Don Giovanni, K. 527 (the final part of Act I).
[N ..3]
MoszWV 214 → Transcription for piano of Mozart's Romanze aus dem Klavierkonzert No. 20, KV 466.
[N ..4]
MoszWV 215 → Transcription for piano of Händel's Aria Lascia ch'io pianga aus Rinaldo.
[N ..5]
MoszWV 216 → Transcription for piano of Händel's Act III Chor (See the Conquering Hero Comes), aus dem oratorio Judas Maccabäus, HWV 63.
[N ..6]
MoszWV 217 → Transcription for piano of Mendelssohn's Nocturne aus Ein Sommernachtstraum, (Midsummer Night’s Dream) Opus 61.
[N ..7]
MoszWV 230 → Transcription for piano four hands of Handel's Chor aus Judas Maccabäus, HWV 63.
[N ..8]
MoszWV 231 → Transcription for piano four hands of Mozart's Menuett from the opera Don Giovanni, KV 527.
[N ..9]
MoszWV 250 → Transcription for four hands of Georges Bizet's Chanson bohème from the Opera Carmen. Dedicated to Monsieur Moriz Rosenthal. Published by Hainauer.
[N ..0]
MoszWV 251 → Transcription of Jacques Offenbach's The Tales of Hoffmann for piano. Dedicated to Mademoiselle Elizabeth Strauss. Published by Peters.
[N ..1]
MoszWV 252 → Paraphrase for piano of Richard Wagner's Tristan und Isolde's final scene. Dedicated to Ferruccio Busoni. Published by Peters.
[N ..2]
MoszWV 253 → Paraphrase for piano of Richard Wagner's scene Venusberg-Bacchanale from Tannhäuser. Dedicated to Mark Hambourg. Published by Peters.
[N ..3]
MoszWV 260 → Transcription for piano solo of Brahms' Ungarische Tänze, WoO 1. Published by Augener Limited.
[N ..4]
MoszWV 261 → Transcription for piano of Frédéric Chopin's Minute Waltz, Opus 64, No. 1. Dedicated to Countess Delfina Potocka, née Komar. Published by Peters.
[N ..5]
MoszWV 262 → Transcription for piano of Carl Czerny's Toccata, Opus 92. Published by Julius Hainauer.
[N ..6]
MoszWV 263 → Transcription for piano solo of Carl Czerny's Étude.
[N ..7]
MoszWV 264 → Transcription for two pianos (four hands) of Mozart's Jupiter Symphonie.
[N ..8]
MoszWV 265 → Indication of the existence of Saint-Saëns's Havanaise (manuscript) in France (private property).
[N ..9]
Étude → The two études attributed to Paul de Schlözer and published by him as Op. 1 (his only known published work), are believed by some historians to have actually been written by Moszkowski. The similarities between de Schlözer's Étude No. 2 in A♭ major and the 11th of Moszkowski’s 15 Études de Virtuosité, Op. 72, also in A♭ major, are striking. However, it may be that these similarities themselves gave rise to the legend that the de Schlözer pieces were written by Moszkowski. The story goes that Moszkowski wrote them, but lost the manuscript in a card game to Schlözer, who first published them in Viena through Schreiber in 1875-1876 as his own works.

References

Sadie, Stanley; Tyrrell, John (2001); The New Grove Dictionary of Music and Musicians, Grove, New York, ISBN 9781561592395
Assenov, Bojan (2010); Moritz Moszkowski (1854–1925). Biographie und Werkverzeichnis, Göttingen, Hainholz Verlag, ISBN 9783869882109
Feofanov, Dmitry (1984); I. Glinka, Michail; Rare Masterpieces of Russian Piano Music Ed. Dover Publications, New York, ISBN 9780486246598

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[1] [n 1]
MoszWV 1 → A scherzo composed under Moszkowski's alternative name: Anton Notenquetscher. Published by Simon.

[2] [n 2]
MoszWV 2 → Album leaf is a short instrumental composition usually for piano, and quite often light in character. Published by Hainauer.

[3] [n 3]
MoszWV 160 → Moszkowski began working in his first Piano concerto, with the orchestra consisting of piano, 1 piccolo, 2 flutes, 2 oboes (English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, violin 1, violin 2, violas, cellos, and double basses, in 1873 at the age of 19 (Moszkowski played this composition, with Franz Liszt on the second piano, in a matinee in Weimar, prompting him to praise Moszkowski admiringly). While Moszkowski later dismissed his Opus. 3 as worthless, he called his Piano Concerto in E major, Op. 59, his best work. In a letter to his publisher in April 1875, Moszkowski said: "I should be happy to send you my piano concerto but for two reasons: first, it is worthless; second, it is most convenient (the score being four hundred pages long) for making my piano stool higher when I am engaged in studying better works." Dedicated to Franz Liszt, it was neglected in an archive at the Bibliothèque nationale de France for 140 years, until the manuscript was found three years prior to its premiere performance at the National Philharmonic Hall in Warsaw, Poland, with the Rzeszow Philharmonic Orchestra conducted by Vladimir Kiradjiev, and soloist Ludmil Angelov, on January 9, 2014. It was then published by Symétrie, Lyon.

[4] [n 4]
MoszWV 3 → Caprice is an instrumental free form musical composition with improvisatory style. Dedicated to Frau Helene v. Schack née v. Lynker. Published by Hainauer.

[5] [n 5]
MoszWV 5 → Fantasie is a free composition written according to the composer's imagination. Published by Hainauer.

[6] [n 6]
MoszWV 5 → Fantasie-Impromptu is a free-style composition. Composed and dedicated to Mademoiselle Johanna Wenzel. Published by Simon.

[7] [n 7]
MoszWV 6 → A free composition published by Hainauer.

[8] [n 8]
MoszWV 100 → Moszkowski began writing his first composition for piano four hands on 4 November 1875 (published in 1876), likely dedicated to Dr. Alfred Pringsheim most probably because the Trois Moments Musicaux, Op. 7 (MoszWV 6), had already been dedicated to Constantin Sternberg. After the success of this composition, and the subsequent Op. 11, it was natural for Moszkowski to write even more pieces for piano four hands. Published by Simon.

[9] [n 9]
MoszWV 80a → Arranged for piano two hands. Published by Simon. Arrangement for MoszWV 80a was probably written the same year as MoszWV 100.

[10] [N 10]
MoszWV 170 → A composition for soprano (Regina Moszkowska was for one year (probably 1902) singing teacher at the Stern Conservatory in Berlin) and piano with libretto by Wilhelm Sachs. No. 1 complete title is Die Verlassene: "Einsam dort am Bache kauert, and no. 2 is Schlaflied: "Schlaf, Bubchen, schlaf" with respective high key in D major, middle in C major, and low in B major. Published by Julius Hainauer.

[11] [N 11]
MoszWV 7 → Four little pieces for piano published by Hainauer. No. 4 is translated as: Sachs, a family surname.

[12] [N 12]
MoszWV 101 → A composition for piano four hands published by Hainauer. Dedicated to his friend Carl Wittkowsky.

[13] [N 13]
MoszWV 102 → A composition for piano four hands dedicated to his brother Alexander Moszkowski. Later publishers found, among other things, a new title for every piece: No. 1 Madrid, No. 2 Sevilla, No. 3 Barcelona, No. 4 Valencia, No. 5 Málaga. They were published by Simon. In 1902 Moszkowski wrote: I think it was about the middle of my seventeenth year that, as often happens to both old and young musicians, I was in sore need of money. I could think of only two ways to get what I wanted: to borrow or to compose something. After turning over, for several days, the advantages and disadvantages of both ways of bettering my circumstances, I concluded I would borrow. Therefore, I went to those two of my colleagues with whom I was on most familiar terms: Philipp and Xaver Scharwenka, in hope that I should not find their fortunes at so low an ebb.
Philipp was at home, sitting on a sofa and smoking a pipe. I sat down by him and asked if he had a cigar. He said that he was out of cigars, but that I could smoke a pipe. So I took a pipe and looked around for tobacco, but sought and sought in vain. Finally Philipp said: "You needn’t hunt hunt any longer, Moritz; there is no tobacco here." Then I began to grow a little angry and said: "Do you know, Philipp, that is drawing it rather strong? You offer me an empty pipe, let me look for tobacco in vain and then coolly tell me there is none here, and yet you yourself are smoking. Give me some tobacco." "If you will smoke what I am smoking, I am satisfied." answered Philipp, who emptied his pipe and prepared anew by drawing out a hole in the sofa some of the sea-grass used to stuff it, which he put in his pipe. For a moment I was speechless with astonishment. Now it was clear that I could not borrow money from a man who was using his sofa for smoking. I went back home, sat down at my table, and began to look through my sketch book. A motive of Spanish character struck my eyes, and at the same moment arose the thought that I would write a set of Spanish dances. I worked rapidly, and in several days had finished my Opus 12, the Spanish Dances for four hands. I had only the last few notes to write as [Xaver] Scharwenka stepped into my room. "Good day, Moritz," he said; "you may be glad that you need not to go out, for it is wretched weather." "Since we are speaking of wretched things," said I, "what are you composing now?" "Oh, nothing," said Xaver, who was accustomed to this kind of conversational tone from me; "but you appear to be at work: do you need money?" Right you are," said I, "and you can do me a service by playing through these four-hand pieces and telling me what you think of them." We tried the dances, and then Xaver said: "I would rather have lent you some money, so that you would not have had to compose." But that was only a return thrust. An hour later I called on Simon the publisher, who promised to let me know in a few days if he would bring the pieces out. When I saw him several days later he said he had shown the pieces to several experienced critics and they had advised him to take them. The question now was, what I wanted from them. "I have a brilliant idea," I said: "I propose that you pay me an exceptionally good price which will get talked about in the papers and thus make a big stir about the pieces." But it made no impression on the publisher. He thought that so pretty pieces needed no such advertising, and besides that, Beethoven, Mozart, Schubert and others always had sold their compositions cheaply, and as a publisher he felt obliged to accept such traditions. In vain I sought to change his mind by suggesting that he ought not to compare me with Beethoven; he would listen to no distinction between us in that respect, and paid me a small price with which I finally withdrew, tolerably well satisfied, at least, to be relieved of my present necessities. When the Spanish Dances were published, several weeks later, they found a good sale. Some years later they were known everywhere, being taken up in various editions and arrangements. I consider this as one of the works which first made me known to the musical world in general. Of course the publisher profited largely by it, and all because Philipp Scharwenka had no tobacco and could not lend me money.

[14] [N 14]
MoszWV 102a → Chamber music for clarinet and piano, first published by Bote & Bock. It was orchestrated by Philipp Scharwenka (No. 2 and No. 5) and Valentin Frank (No. 1, No. 3 and No. 4) in 1880. Published by Edition Peters.

[15] [N 15]
MoszWV 171 → A composition for soprano and piano. No. 1 uses a text by Nikolaus Lenau, No. 2 by Heinrich Heine, and No. 3. Julius Wolff. Published by Hainauer.

[16] [N 16]
MoszWV 8 → A Humoresque composition characterized by pieces with fanciful humor. Dedicated to Xaver Scharwenka. Published by Hainauer.

[17] [N 17]
MoszWV 9 → A composition for piano solo. No. 1 Serenata was the first revised, personally corrected by the composer himself, Moritz Moszkowski, and authorized edition ever published in an American magazine (The Ladies' Home Journal, No. 8, July 1905). Published by Hainauer.

[18] [N 18]
MoszWV 9a → A composition for piano 4 hands (after Op. 15, No. 1). Published by Hainauer.

[19] [N 19]
MoszWV 9b → Chamber music for cello and piano (after Op. 15, No. 5). Published by Hainauer.

[20] [N 20]
MoszWV 130 → Chamber music originally composed for violin and piano and published with a companion piece, a Bolero, Op 16, No 2. No. 1 Ballade has for tempo Andante con moto (part 1), and Tempo animato, quasi allegro (part 2). This is Moszkowski earliest orchestral work (Spanish Dances, Op 12, which appeared earlier, was orchestrated by Philipp Scharwenka and Valentin Frank). No. 1 was dedicated to German composer and violin-virtuoso Gustav Hille (born 21 May 1851), who had studied at the Kullak Academy along with Moszkowski, and No. 2 Bolero to Fräulein Marianne Stresow. Published by Hainauer.

[21] [N 21]
MoszWV 130a → A ballad for violin and orchestra (after Op. 16) composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp (opt), and strings. It was dedicated to Marianne Stresow two years prior to her marriage with Philipp Scharwenka (1847-1917). Published by Hainauer.

[22] [N 22]
MoszWV 10 → A composition for piano. Published by Hainauer.

[23] [N 23]
MoszWV 10a → A Minuet for piano four hands (after Op. 17, No. 2). Published by Hainauer.

[24] [N 24]
MoszWV 11 → A composition for piano solo. Published by Hainauer.

[25] [N 25]
MoszWV 11a → Chamber music for cello and piano (after Op. 18, No. 1). Published by Hainauer.

[26] [N 26]
MoszWV 140 → A Symphonic Poem in four movements from Friedrich Schiller's Jungfrau von Orleans for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp, and strings) without solo instrument. Titles read: No. 1 Joan's pastoral life. A vision brings them to awareness of their high position, No. 2 Internal discord - back memories, No. 3 Enter the winner to be crowned in Rheims, No. 4 Joan in captivity. Victory, death and transfiguration. The premiere of this composition was held in the Berlin Symphony Chapel under the direction of Franz Mannstädt on 23 February 1877, and the British premiere at St. James Hall in London, where he conducted the Philharmonic Society Orchestra on May 20, 1885. It was the first of a series of six concerts that he should give for the Company. Dedicated to his friend Philipp Scharwenka, it was published by Hainauer, appearing in print two years later.

[27] [N 27]
MoszWV 140a → A composition for two pianos. Published by Hainauer.

[28] [N 28]
MoszWV 12 → A Scherzo for piano. Dedicated to Monsieur Jules Zarębski. Published by Hainauer.

[29] [N 29]
MoszWV 103 → A composition for piano four hands. Published by Hainauer.

[30] [N 30]
MoszWV 172 → A composition for voice and piano dedicated to Frau Dr. Arthur Levysohn. It was published by Hainauer.

[31] [N 31]
MoszWV 104 → A composition for piano four hands later orchestrated by the composer. Also published for piano solo. Published by Hainauer.

[32] [N 32]
MoszWV 104a → A composition for orchestra. Published by Hainauer.

[33] [N 33]
MoszWV 104b → Chamber music for cello and piano (after Op. 23, No. 1). Published by Hainauer.

[34] [N 34]
MoszWV 13 → An Étude for piano and orchestra. Dedicated to Theodor Kullak. Published by Hainauer.

[35] [N 35]
MoszWV 105 → A composition for piano four hands. Published by Hainauer.

[36] [N 36]
MoszWV 173 → A composition for voice and piano with libretto by Carl Wittkowsky. Published by Hainauer.

[37] [N 37]
MoszWV 14 → A composition entitled Barcarole and Tarantelle for piano. Dedicated to Baroness Henriette Senfft von Pilsach. Published by Hainauer.

[38] [N 38]
MoszWV 15 → A small scale composition for piano. Dedicated to his friend Monsieur Henri Steinkühler. Published by Hainauer.

[39] [N 39]
MoszWV 131 → Chamber music for cello and piano. Published by Hainauer.

[40] [N 40]
MoszWV 161 → A composition in three movements for violin and orchestra composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Dedicated to Émile Sauret. Published by Bote & Bock.

[41] [N 41]
MoszWV 161a → Chamber music for violin and piano. Published by Bote & Bock.

[42] [N 42]
MoszWV 16 → A set of morceaux for piano. No. 4 was also arranged for two pianos 8 hands by F. Brissler. Published by Ries & Erler.

[43] [N 43]
MoszWV 16a → A Scherzino for two pianos 4 hands (after Op. 31, No. 4). Published by Ries & Erler.

[44] [N 44]
MoszWV 16b → A Capriccio for two pianos 4 hands (after Op. 31, No. 6). Published by Ries & Erler.

[45] [N 45]
MoszWV 17 → A composition for piano dedicated to his friend Austrian pianist and composer Alfred Grünfeld. Published by Bote & Bock.

[46] [N 46]
MoszWV 106 → A composition for piano four hands. No. 3 is also known as Pièce drôlatique (Humorous piece) in later editions. It was first published by Hainauer.

[47] [N 47]
MoszWV 18 → Morceau No. 1 was dedicated to Monsieur Théodore Ritter, No. 2. to Monsieur Louis Coenen, and No. 3. to Mademoiselle Clotilde Kleeberg. Published by Hainauer.

[48] [N 48]
MoszWV 18a → A waltz made easier by the composer for piano two hands. Published by Édition facilitée Hainauer.

[49] [N 49]
MoszWV 19 → "A composition for piano dedicated for his wife Henriette Chaminade, sister of Cécile Chaminade. Published by Hainauer. "In the 1880s, a neurological problem with Moszkowski’s arm curtailed his career as a pianist, and he became increasingly devoted to composition. In 1884, he married Henriette Chaminade, the youngest sister of Cécile Chaminade; they had two children, Marcel and Sylvia. In 1890, Henriette left Moszkowski for the poet Ludwig Fulda, and a divorce was issued 2 years later. In 1897, Moszkowski moved to Paris. Henriette died in 1900. Moszkowski’s own health deteriorated, and in 1906, he lost his 17-year-old daughter. In Berlin his home was in Genthiner Strasse, where he resided with his mother and children. The desertion of his wife, who was the pianiste Chaminade’s sister, is a subject never alluded to by him, nor does he encourage mention of it by others." Professor Bernhard Pollack (1865–1928) of Friedrich Wilhelm University, Berlin: Neurohistologist, Ophthalmologist, Pianist Lazaros C. Triarhou (2012). → Back to List of compositions by Cécile Chaminade

[50] [N 50]
MoszWV 20 → Morceau No. 1 dedicated to Madame Bertha Moszkowski, wife of his brother Alexander, No. 2 to Monsieur Arthur De Greef, No. 3 to Giuseppe Buonamici, No. 4 to Józef Wieniawski, No. 5 to W. Goldner, No. 6 to Max Schwarz, No. 7 to English pianist and composer Francesco Berger, and No. 8 to Alexander Lambert. A composition for piano. Published by Hainauer.

[51] [N 51]
MoszWV 21 → A composition for piano solo dedicated to Mademoiselle Neally Stevens. Published by Peters.

[52] [N 52]
MoszWV 22 → A composition for piano solo dedicated "To my dear mother". Published by Hainauer.

[53] [N 53]
MoszWV 141 → Composed and dedicated to the Philharmonic Society of London. Published by Hainauer.

[54] [N 54]
MoszWV 141a → Version for piano four hands. Published by Hainauer.

[55] [N 55]
MoszWV 141b → Version for piano (after Op. 39, No. 4). Published by Hainauer.

[56] [N 56]
MoszWV 23 → A Scherzo-Valse for piano two hands. Dedicated to Madame Annette Essipoff-Leschetitzky. Published by Peters.

[57] [N 57]
MoszWV 24 → A composition for piano two hands most probably with ideas borrowed very slightly in feeling and form from Mendelssohn's Venetian Gondola songs. Dedicated to Monsieur Joseph Pollack. Published by Peters.

[58] [N 58]
MoszWV 25 → A composition for piano two hands. Published by Bote & Bock.

[59] [N 59]
MoszWV 107 → A composition for piano four hands dedicated to Messier Frédéric de Schennis. Published by Peters.

[60] [N 60]
MoszWV 107a → A composition for orchestra subtitled as Fantastischer Zug. Published by C. F. Peters.

[61] [N 61]
MoszWV 200 → A composition for soli, chorus and small orchestra whose title is translated as The shepherd dressed for the dance from a scene in Goethe's Faust. Published by Hainauer.

[62] [N 62]
MoszWV 200a → A composition for piano solo arranged by the composer. Published by Hainauer.

[63] [N 63]
MoszWV 26 → A composition for piano solo. No. 1 dedicated to Monsieur Felix Dreyschock, and No. 2 to Herrn Sally Liebling. Published by Peters.

[64] [N 64]
MoszWV 26a → Chamber music for cello and piano. Published by Peters.

[65] [N 65]
MoszWV 26b → Chamber music for violin and piano (arranged by Pablo de Sarasate). Published by Peters. Often mentioned as Op 45, No. 2

[66] [N 66]
MoszWV 27 → A composition for piano solo. Published by Hainauer.

[67] [N 67]
MoszWV 142 → An orchestral composition (written for piccolo, flutes, oboes, clarinets, bassoons, contrabassoon, horns, trompe, timpani, triangle, bass drum and cymbals, trombones and tuba, harp, violin I, violin II, viola, cello, double bass, and organ) dedicated to composer Hans von Bülow. Published by Hainauer.

[68] [N 68]
MoszWV 142a → A composition for piano solo (after Op. 47, No. 1 & No. 5). Published by Hainauer.

[69] [N 69]
MoszWV 28 → An étude for piano which Moszkowski began writing between June and July 1889 (?). A year later, he wrote to his publisher Max Abraham saying: "I will send you at the same time my newly completed Op. 48 for piano (2 Concert Etudes). Although the manuscript is well written and is very accurate, I would like to ask you to send the last proof. The price for this piece is 1500 Mk. I hope you hereby agree. [...] The title is: Deux Etudes de Concert pour le Piano composée par Maurice Moszkowski - Oeuvre 48". Étude No. 1 was dedicated to Monsieur Max Pauer, and No. 2 to Paul de Schlözer. It was then published by Peters.

[70] [N 70]
MoszWV 201 → Opera in three acts with libretto by Carl Wittkowsky. Published by Peters.

[71] [N 71]
MoszWV 201a → A composition for piano solo. There may be an arrangement (MoszWV 49d) for parts Maurischer Marsch [und Einzugsmarsch] for piano four hands. Published by Peters.

[72] [N 72]
MoszWV 201b → Arranged for piano solo. Published by Peters.

[73] [N 73]
MoszWV 201c → Arranged for piano solo. Published by Peters.

[74] [N 74]
MoszWV 29 → A composition for piano solo, first published by Peters.

[75] [N 75]
MoszWV 202 → Translated as Danse aux Flambeaux (Torchlight Dance), it is an orchestral composition (Stage music) dedicated to the Corps de Ballet of the Royal Opera in Berlin, to which it was commissioned without being discussed with the directorship of the theatre where it was first performed. The Berlin premiere of the play, which was staged in samples together with the ballet music from Boabdil, caused Moszkowski much concern. It premiered in the US on 2 February 1894, in Chicago, with Theodore Thomas as conductor of the Chicago Symphony Orchestra. Published by Peters.

[76] [N 76]
MoszWV 202a → Arranged for piano published by Peters.

[77] [N 77]
MoszWV 30 → A composition for piano solo whose titles in French are: No. 1 Landscape image, No. 2 Night Piece, No. 3 Duet, No. 4 The juggler, No. 5 Carnivalesque intrigue, and No. 6 At the party. Dedicated to Frau Carrie B. Johnson, it was published by Peters.

[78] [N 78]
MoszWV 203 → Ballet music for orchestra over the poem Laurin about Theodoric the Great, with libretto by Emil Taubert and choreography by Emil Graeb. It premiered on 28 February 1896 at the Opera House of the Royal Shows in Berlin under the baton of music director Steinmann. Dedicated to Fräulein Régine Nicol. Published by Bote & Bock.

[79] [N 79]
MoszWV 203a → Arranged for piano solo (there may be a piano reduction of this composition - MoszWV 203b) whose titles translate: No. 1 Dance of the Rose Elves, No. 2 March of the Dwarfs, No. 3 Sarabande (F major) und Double (D minor), are divided in two pieces, and No. 4. Valse Coquette. Published by Bote & Bock.

[80] [N 80]
MoszWV 31 → A composition for piano solo dedicated to Frau Fannie Bloomfield Zeisler. Published by Peters.

[81] [N 81]
MoszWV 108 → A composition for piano four hands dedicated to Frau Aniela Fürstenberg. Published by Peters.

[82] [N 82]
MoszWV 108a → Arranged for orchestra (after Op. 55, No. 1 & No. 4) between May–June 1898. Published by Peters.

[83] [N 83]
MoszWV 108b → Arranged for piano solo by Moszkowski in October 1896. Published by Peters the following year.

[84] [N 84]
MoszWV 204 → Overture and incidental music. Published by Ries & Erler.

[85] [N 85]
MoszWV 204a → Arranged for two pianos four hands (after Op. 56, No. 2, No. 3, No. 5, No. 6). Published by Ries & Erler.

[86] [N 86]
MoszWV 204b → Arranged for piano four hands. Published by Ries & Erler.

[87] [N 87]
MoszWV 204c → Chamber music for violon and piano (after Op. 56, No. 3 & No. 4). Published by Enoch.

[88] [N 88]
MoszWV 32 → A composition for piano solo with titles translated as: Spring. Five Pieces No. 1 Impatience, No. 2 Spring chime, No. 3 Flower piece, No. 4 Zephyr (the God of the West Wind or the west wind personified), No. 5 Love waltz. First published by Peters.

[89] [N 89]
MoszWV 33 → A composition for piano solo whose title comes from an 1883 novel by Antoine Gustave Droz. Published by Hainauer.

[90] [N 90]
MoszWV 33a → Chamber music for violin and piano. Published by Enoch.

[91] [N 91]
MoszWV 33b → An arrangement for orchestra. Published by Enoch.

[92] [N 92]
MoszWV 162 → This piano concerto was first performed in Britain on 12 May 1898. Dedicated "à Monsieur Josef Casimir Hofmann", it was scored for brass, woodwind and strings, making also use of a harp and triangle. Composer and musical critic Hubbard William Harris provided the following musical analysis: "The first movement is a brilliant composition, opening with what may he taken as its principal theme, inasmuch as it furnishes most of the material for the development, and also reappears in the last movement as a climax to the whole work. The announcement of this resolute subject, by the flutes and oboes accompanied lightly by other woodwind, and deeper strings, is followed by a short solo cadenza, after which the unfolding of the musical picture begins. As this proceeds several subsidiary melodies come to notice, prominent among them being one which (while hinted at before) does not assume its formal shape until given out, grazioso, by the pianoforte alone following a short upward chromatic scale passage. This graceful subject also figures, conspicuously in the development, which after passing through a succession of interesting stages, culminates finally in a rousing climax. The second movement is an eloquent, nocturne-like effusion, of which the principal thematic element is the expressive subject given out softly at the commencement by the clarinet, and bassoons, staccato, and the strings, pizzicato - this being taken up shortly and carried on by the solo instrument. An agreeably contrasting intermediary section follows, after which the expressive first theme returns - now in the harp and strings against flowing figurations in the solo instrument. Lastly a short free conclusion passage leads us into the third movement. The vivace is a lively, sparkling composition in Moszkowski's characteristically brilliant manner, and commences with the statement of a nimble running theme by the solo instrument. After this vivacious subject and its derivatives have been worked over briefly another buoyant theme comes to notice in the flutes and clarinets, over a strumming guitar-like accompaniment in the pianoforte. The development from here runs mainly on this theme, leading finally to a short cantabile passage for the solo instrument (unaccompanied), following which the movement proceeds quickly to a dashing conclusion. The fourth and last movement opens with a short flourishing introductory passage which leads to the statement of a resolute theme by the solo instrument. After this has been developed at considerable length the pianoforte introduces a contrasting theme of flowing character, to which the clarinet attaches itself shortly. Presently the development of the resolute opening theme is resumed, leading to the entrance of still another subject, given out softy but decidedly by the clarinet and the violas, and worked up forthwith in alternation and combination with the resolute opening theme. The flowing second theme returns, the movement mounting thence to a climax, at the pinnacle of which the resolute opening theme of the first movement reappears in enlarged rhythm." Published by Peters.

[93] [N 93]
Piano duet → Arrangement for two pianos four hand. Published by Peters.

[94] [N 94]
MoszWV 34 → Three Mazurkas. A composition for piano. Published by Ries & Erler

[95] [N 95]
MoszWV 34a → A composition for 2 pianos (after Op. 60, No. 2). Published by Ries & Erler.

[96] [N 96]
MoszWV 34b → A composition for 2 pianos (after Op. 60, No. 3). Published by Ries & Erler.

[97] [N 97]
MoszWV 35 → A composition for piano solo, first published by Peters.

[98] [N 98]
MoszWV 36 → A composition for piano solo, first published by Peters.

[99] [N 99]
MoszWV 37 → A composition for piano solo, first published by Peters.

[100] [N ..0]
MoszWV 38a → A collection of exercises for piano divided in 3 Books dedicated to Louis Diémer [1843–1919], pianist, composer and professor at the Conservatoire de Paris. Together with MoszWV 38b, Le Livre des Gammes (1904), divided in two parts: Les Gammes en notes simples (Die Tonleitern in einfachen Noten) and Les Gammes en double notes [Extraites de l‘Ecole des Doubles-Notes], it forms a work partly consistent with Opus 64 (MoszWV 38a) in 4 parts. The so-called part 5, "Observations sur le doigté" (Observations on the fingering of scales in single and double notes), is not part of this set of studies, but just commentaries on the technique used in the exercises. First published by Enoch.

[101] [N ..1]
MoszWV 109 → A composition for piano four hands. No. 3 is entitled Habanera. Dedicated to Monsieur Théodore Jelowicki, it was published by Peters.

[102] [N ..2]
MoszWV 109a → Arranged for piano solo. Published by Peters.

[103] [N ..3]
MoszWV 109b → Arranged for orchestra without solo instrument. Published by Peters.

[104] [N ..4]
MoszWV 109c → Arranged for orchestra (after Op. 65, No. 2). Published by Peters.

[105] [N ..5]
MoszWV 39 → A composition for piano solo dedicated to Mlle. Maud Johnson. It was published by Edition Peters.

[106] [N ..6]
MoszWV 40 → A composition for piano solo. Dedicated to Mlle. Celeste Nellis, it was published by Ries & Erler.

[107] [N ..7]
MoszWV 40a → A composition for two pianos 4 hands. Published by Ries & Erler.

[108] [N ..8]
MoszWV 40b → A composition for two pianos 4 hands. Published by Ries & Erler.

[109] [N ..9]
MoszWV 41 → A composition for piano solo dedicated to Romanian concert pianist Mademoiselle Constance Erbiceanu (1874-1961). She studied in Leipzig and was a pupil of Karl Reinecke (1894-1898). Published by Enoch.

[110] [N ..0]
MoszWV 42 → A composition for piano dedicated to Mr. Charles Förster. It was first published by Julius Hainauer.

[111] [N ..1]
MoszWV 43 → A composition for piano solo first published by Enoch.

[112] [N ..2]
MoszWV 135 → Chamber music for 2 violins and piano (apparently commissioned) written and dedicated to Mlle. Isabelle Levallois. First published by Peters.

[113] [N ..3]
MoszWV 44 → An étude for piano solo whose subtitle is Per aspera ad astra. In a letter that Moszkowski wrote to his publisher Henri Hinrichsen on 13 February 1902 in Paris, he mentioned that these etudes would be an average about four printed pages in length and should be a kind of modern school of velocity, as they were a continuation of the difficult études of Czerny, who had among his students Theodor Kullak, founder of the Neue Akademie der Tonkunst. Dedicated to Monsieur Alexandre Michalowski, it was published by Enoch.

[114] [N ..4]
MoszWV 45 → Morceau No. 1 dedicated to Mademoiselle Annie Crosby, No. 2 to Mademoiselle Eugénie Wehrmann, and No. 3 to Madame Marie Nemès. Published by Hainauer.

[115] [N ..5]
MoszWV 110 → A composition for piano four hands with subtitle Miniaturbilder, dedicated to Fräulein Louise Péraux-La Roche. It was first published by Peters.

[116] [N ..6]
MoszWV 46 → A morceau for piano dedicated to Mademoiselle Hélène Collin. No. 2 is an étude. Published by Junne.

[117] [N ..7]
MoszWV 47 → A morceau for piano dedicated to Mademoiselle Nellie Kauffmann-Kendall. Published by Forberg.

[118] [N ..8]
MoszWV 48 → A composition for piano solo dedicated to Mademoiselle Gabrielle Turpin. Published by Schott.

[119] [N ..9]
MoszWV 49 → An étude for piano. Published by Schott.

[120] [N ..0]
MoszWV 143 → A composition orchestra. Moszkowski wrote to his publisher, Henri Hinrichsen, on 25 August 1907 in Paris: "I have currently finished my Opus 79, a four-movement orchestral suite which I have to perform in the first half of September. The premiere in Lausanne is to make any remaining correction. The score is currently with the copyist and once it is finished, I believe it will have about 165 pages (in press maybe 150.) The first two movements are quite symphonic, the third is a waltz that will probably be playing a lot separately, and may also become a piano piece. The second movement is likely to be suitable for a single output. That is, I hope that it may be convenient for you, and if this is the case, I suggest you a fee of 3,000 Marks for it. I do not think you'll find that amount too high, especially if you consider that I will have to pay about 450 Francs for the copy of the score and 200 Francs for a sample. I intend to travel to Lausanne on September 1, therefore I would be grateful if you would let me go." This composition was dedicated to Polish composer and conductor Monsieur Alex Z. Birnbaum, and published the following year by Bote & Bock.

[121] [N ..1]
MoszWV 143a → A composition for piano solo (after Op. 79, No. 3). Published by Bote & Bock.

[122] [N ..2]
MoszWV 50 → Two morceaux for piano, being No. 1. dedicated to Madame Dora Bright, and No. 2. to Madame Berthe Riché. Published by Bote & Bock.

[123] [N ..3]
MoszWV 51 → A morceau for piano solo. No. 1 was dedicated to Monsieur J. Joachim Nin, No. 2. to Madame Marie Panthès-Kutner, No. 3. to Madame Eugénie Schaffner, No. 4. to Monsieur Josef Lhévinne, No. 5. to Monsieur Ossip Gabrilowitsch, and No. 6. to Monsieur Léopold Godowski. Published by Schott.

[124] [N ..4]
MoszWV → Chamber music for violin and piano. Dedicateers are: 1. Monsieur Pierre Sechiari, 2. Monsieur Alberto Abraham Bachmann, 3. Monsieur Israel Mendels, 4. Monsieur George Enescu. Published by Peters.

[125] [N ..5]
MoszWV 52 → A morceau for piano solo. No. 1, 2 and 3 was dedicated to Monsieur Paul Braud Cahier II, who taught at the Conservatory of Marseille, and No. 4, 5, and 6 to Madame Hélène Wittkowsky. Published by Hainauer.

[126] [N ..6]
MoszWV 53 → Four morceaux for piano solo written at Villa Murg in Marlotte (Seine-et-Marne), France. Published by Schott.

[127] [N ..7]
MoszWV 144 → Moszkowski wrote Prelude and Fugue for string quartet, which he describes as "serious", shortly after the death of his mother Salomia on 13 April 1910. Moszkowski demanded six hundred francs for the work, but Henri Hinrichsen, his publisher from C. F. Peters, had given him more and published the work in September 1911. Shortly before that, on 17 December of that year, his Opus 85 premiered in his presence at the Covent Garden Theatre, in London, under the direction of his former pupil Thomas Beecham. By the initiative of well-known French musician colleagues such as Saint-Saëns, Massenet, Widor, Fauré, Dubois, Debussy, Dièmer, Guilmant, Paladilhe, Wormser, Moszkowski received in the fall of 1910 the rank of Chevalier of the French Légion d'Honneur. Dedicated to the Polish composer Zygmunt Stojowski.

[128] [N ..8]
MoszWV 54 → Three morceaux for piano solo. There was a print error when Feuillet d'album was published by Schott as plate number 29085 on Opus 85 and 86, and Gavotte as plate number 29086. Scherzo-etude was apparently published only as Op. 85. No. 1 was dedicated to Mlle. Hélène Augustin, No. 2 to Mr. William H. Sherwood, and No. 3 to Mlle. Catherine Linn.

[129] [N ..9]
MoszWV 55 → Three morceaux for piano solo. No. 1 was dedicated to Mademoiselle Yvonne Galliet, No. 2 to Monsieur Carl Stasny and No. 3 to Monsieur Sam Fleishman. It was first published by Enoch.

[130] [N ..0]
MoszWV 56 → A composition for piano solo dedicated to his friend Monsieur Isidore Philipp. Published by Theodore Presser, and later by Enoch.

[131] [N ..1]
MoszWV 57 → A composition for piano. No. 3 changes from B♭ minor to B♭ major as well. Published by Hainauer.

[132] [N ..2]
MoszWV 128 → A composition for aeolian organ. Unpublished work.

[133] [N ..3]
MoszWV 58 → An étude for piano solo dedicated to Madame M. T. Amirian who was Moszkowski' student and late life partner. Published by Leduc.

[134] [N ..4]
MoszWV 117 → A composition for piano solo left hand dedicated to Monsieur Harold Bauer. Published by Enoch.

[135] [N ..5]
MoszWV 59 → Six morceaux for piano solo. No. 1 (as entitled in the Schmidt edition), 2 (as entitled in the Schmidt edition), and 3 were dedicated to Monsieur André Gresse, and No. 4, 5, and 6 to Mme. Riss-Arbeau. Published by Arthur P. Schmidt.

[136] [N ..6]
MoszWV 60 → Ten morceaux for piano solo. No. 1, 2, 3, 4 and 5 were dedicated to piano teacher Mme. Berte Cahn, who taught at the German Conservatory in New York, and No. 6, 7, 8, 9 and 10 to piano teacher Mme. Hélène Chaumont. No. 8 (Cantilena) is "a short poetic composition usually written for voice or an instrumental passage" (Diccionario enciclopédico de la lengua castellana - 1895). The two sets were published under the name Decameron in the US, with descriptive English titles for each of the pieces. Published by Schott, London.

[137] [N ..7]
MoszWV 61 → Six morceaux for piano solo. Published by Enoch.

[138] [N ..8]
MoszWV 111: → Alternative title: Huit Petits Morceaux a Piano Quatre Mains avec des Basses sur cinq notes. A composition for piano four hands dedicated to Mademoiselle Diane de Rothschild. It was first published by Enoch.

[139] [N ..9]
MoszWV 62 → A composition for piano divided in two books dedicated to Mesdemoiselles Marguerite and Henriette Debrie. Published by Leduc.

[140] [N ..0]
MoszWV 63 → A composition for piano solo. This was Moszkowski first published composition. It appeared in the women's magazine Der Bazar der Bazar-Actien-Gesellschaft, a kind of monthly almanac to everyday life. Published by Verlag der Bazar-Actien-Gesellschaft.

[141] [N ..1]
MoszWV 64 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Ludwig Troll, Cassel.

[142] [N ..2]
MoszWV 65 → One of Moszkowski early compositions for piano solo which possibly dates from 1876-77. It was Moszkowski contribution for a 475-page collection of piano selections called the Family Gift-Book, along with those of Vincenz Lachner, Josef Löw, Xaver Scharwenka, and other composers. The book was compiled by Ernst Pauer and published by Augener, in London.

[143] [N ..3]
MoszWV 66 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Le Gaulois.

[144] [N ..4]
MoszWV 67 → Another contribution of Moszkowski for a 312-page book entitled Das Klavier und seine Meister with many portraits, illustrations and facsimiles of original sheet music by Wilhelm Kienzl, Philipp Scharwenka, Eugene D'Albert, and Richard Strauss. It was compiled by Oskar Bie and published by F. Bruckmann.

[145] [N ..5]
MoszWV 68 → A composition for piano solo dedicated to Monsieur F. Toledo. Published by E. Chatenay.

[146] [N ..6]
MoszWV 69 → A composition for piano solo. Published by G. Schirmer.

[147] [N ..7]
MoszWV 70 → A composition for piano solo translated as Morning Lights (The Ladies’ Home Journal). Published by G. Schirmer.

[148] [N ..8]
MoszWV 71 → A composition for piano solo. Published by Hainauer.

[149] [N ..9]
MoszWV 72 → A composition for piano solo. Published by Senart.

[150] [N ..0]
MoszWV 73 → A composition for piano solo divided into two parts. The first section consists of a melody played in A♭ major and the second section in two different keys, C minor and A♭ major again, with the third section leading to a coda. It was published by Saint Louis: Art Publication Society.

[151] [N ..1]
MoszWV 120 → A composition for two pianos 4 hands (also appeared in an edition with Poème de Mai, Op 67. Deux Morceaux pour deux pianos à quatre mains par Maurice Moszkowski). Published by Ries & Erler.

[152] [N ..2]
MoszWV 133 → One of Moszkowski early works together with MoszWV 136. At the time of his life he was taking lessons at the Dresden Conservatory with Prof. Leonhardt (piano), Mr. Risch Biele (harmony), and violin lessons. He left school and was taught by private tutors. Unpublished work.

[153] [N ..3]
MoszWV 136 → Quintet for piano, 2 violins, viola, and violoncello. One of Moszkowski early works together with MoszWV 133. Unpublished work.

[154] [N ..4]
MoszWV 145 → A composition for large orchestra written in the winter 1871-72. Moszkowski Overture for orchestra had been considered lost, but was found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote an overture at the Academy. In the original handwritten abbreviations instrumentation: Flauto I,Flauto II, Oboe, Clarinet in A, Bassoon, Cornet in D, Horn in D, Timpani in D and A, Trombone Alto, Trombone Tenore, Trombone Basso, Violin I, Violin II, Viola, Cello, and Basso. Unpublished work.

[155] [N ..5]
MoszWV 146 → A composition for orchestra written in the summer of 1873. Moszkowski Overture for Orchestra and Symphony had been considered lost and found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote a symphony at the Academy. Unpublished work.

[156] [N ..6]
MoszWV 174 → A composition for female voice and piano. No. 1 translated as Song of the Pixies (adapted from words of Samuel Taylor Coleridge) and No. 2 The Rainbow (adapted from words of Mrs. Heman). Published by Augener.

[157] [N ..7]
MoszWV 175 → A composition (La jota) for soprano and piano. Published by Saint Louis: Kunkel Bros.

[158] [N ..8]
MoszWV 205 → Anton Notenquetscher at the piano. Variations in the style of modern composers, from Czerny to Liszt. Published by Steinitz. A composition written on the occasion of a ceremony to Carl Bechstein's seventieth birthday on June 1, 1896.

[159] [N ..9]
MoszWV 210 → Transcription for piano of Beethoven's Sechs Menuette für Orchester (the original version is lost, only an arrangement for piano is extant) in G major, WoO 10, No. 2.

[160] [N ..0]
MoszWV 211 → Transcription for piano of Beethoven's Adagio cantabile aus der Violinsonate in C minor, Opus 30, No. 2.

[161] [N ..1]
MoszWV 212 → Transcription for piano of Beethoven's Piano Concerto No. 5 (Emperor) in E♭ major, Opus 73. This fragment of Beethoven's Emperor Concerto was transcribed by Moszkowski in 1921.

[162] [N ..2]
MoszWV 213 → Transcription for piano of Mozart's Menuett aus der Oper Don Giovanni, K. 527 (the final part of Act I).

[163] [N ..3]
MoszWV 214 → Transcription for piano of Mozart's Romanze aus dem Klavierkonzert No. 20, KV 466.

[164] [N ..4]
MoszWV 215 → Transcription for piano of Händel's Aria Lascia ch'io pianga aus Rinaldo.

[165] [N ..5]
MoszWV 216 → Transcription for piano of Händel's Act III Chor (See the Conquering Hero Comes), aus dem oratorio Judas Maccabäus, HWV 63.

[166] [N ..6]
MoszWV 217 → Transcription for piano of Mendelssohn's Nocturne aus Ein Sommernachtstraum, (Midsummer Night’s Dream) Opus 61.

[167] [N ..7]
MoszWV 230 → Transcription for piano four hands of Handel's Chor aus Judas Maccabäus, HWV 63.

[168] [N ..8]
MoszWV 231 → Transcription for piano four hands of Mozart's Menuett from the opera Don Giovanni, KV 527.

[169] [N ..9]
MoszWV 250 → Transcription for four hands of Georges Bizet's Chanson bohème from the Opera Carmen. Dedicated to Monsieur Moriz Rosenthal. Published by Hainauer.

[170] [N ..0]
MoszWV 251 → Transcription of Jacques Offenbach's The Tales of Hoffmann for piano. Dedicated to Mademoiselle Elizabeth Strauss. Published by Peters.

[171] [N ..1]
MoszWV 252 → Paraphrase for piano of Richard Wagner's Tristan und Isolde's final scene. Dedicated to Ferruccio Busoni. Published by Peters.

[172] [N ..2]
MoszWV 253 → Paraphrase for piano of Richard Wagner's scene Venusberg-Bacchanale from Tannhäuser. Dedicated to Mark Hambourg. Published by Peters.

[173] [N ..3]
MoszWV 260 → Transcription for piano solo of Brahms' Ungarische Tänze, WoO 1. Published by Augener Limited.

[174] [N ..4]
MoszWV 261 → Transcription for piano of Frédéric Chopin's Minute Waltz, Opus 64, No. 1. Dedicated to Countess Delfina Potocka, née Komar. Published by Peters.

[175] [N ..5]
MoszWV 262 → Transcription for piano of Carl Czerny's Toccata, Opus 92. Published by Julius Hainauer.

[176] [N ..6]
MoszWV 263 → Transcription for piano solo of Carl Czerny's Étude.

[177] [N ..7]
MoszWV 264 → Transcription for two pianos (four hands) of Mozart's Jupiter Symphonie.

[178] [N ..8]
MoszWV 265 → Indication of the existence of Saint-Saëns's Havanaise (manuscript) in France (private property).

[179] [N ..9]
Étude → The two études attributed to Paul de Schlözer and published by him as Op. 1 (his only known published work), are believed by some historians to have actually been written by Moszkowski. The similarities between de Schlözer's Étude No. 2 in A♭ major and the 11th of Moszkowski’s 15 Études de Virtuosité, Op. 72, also in A♭ major, are striking. However, it may be that these similarities themselves gave rise to the legend that the de Schlözer pieces were written by Moszkowski. The story goes that Moszkowski wrote them, but lost the manuscript in a card game to Schlözer, who first published them in Viena through Schreiber in 1875-1876 as his own works.

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Moritz Moszkowski
Piano Concerto No. 2, Op. 59, 2nd movement
Background information
Born	(1854-08-23)23 August 1854 Breslau, Kingdom of Prussia, German Confederation
Died	4 March 1925(1925-03-04) (aged 70) Paris, French Third Republic
Genres	Classical, Romantic era
Occupation(s)	Pianist, composer
Instrument(s)	Piano

List_of_compositions_by_Moritz_Moszkowski

Genre

Works with opus number

Works without opus number

Additional information

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