2 Concertpieces, Op. 16 Cover Image

2 Concertpieces, Op. 16: Violin, Solo with Piano, Book

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2 Concertpieces, Op. 16 Cover Image

2 Concertpieces, Op. 16: Violin, Solo with Piano, Book

By Moritz Moszkowski

Item: 36-M357291

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Description
2 CONCERTPIECES (2 Konzertstücke), Op. 16 for violin and piano was written by Moritz Moszkowski (1854-1925) in 1878. Titles: 1. Ballade (G minor); 2. Bolero (D major).

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810280-1
ISBN13: 979-889-810-2807
UPC: 605258647979
SKU: 36-M357291
Instrumentation: Violin and Piano

More about this title

About the Composer: Moritz Moszkowski

Moritz Moszkowski (1854-1925) was a Polish-German virtuoso violinist and prolific composer whose gifts for melody and orchestration made him a fixture in European concert halls during the late 19th century. Though his large-scale works have faded from standard repertoire, his chamber music and violin pieces remain valuable for performers seeking music that balances technical display with genuine lyricism.

Moszkowski composed across multiple genres, earning particular respect for his salon pieces and works for violin. His writing for the instrument reflects his own performing experience and demonstrates a keen understanding of what lies comfortably under the bow while still demanding musicianship and interpretive maturity.

Why we love this

This pairing showcases two distinct violin characters in a single volume. The Ballade trades in Romantic breadth and cantabile phrasing, while the Bolero offers rhythmic verve and Spanish flair, giving your advanced students two contrasting performance experiences without requiring separate purchases. Moszkowski's piano writing is graceful rather than overwhelming, allowing the focus to remain on violin tone and line where it belongs.

What to expect

The Ballade unfolds with the warmth of a 19th-century song, drawing on minor-key melancholy and Romantic breadth. By contrast, the Bolero crackles with Spanish rhythmic energy and sunlit D major optimism, as though Moszkowski stepped away from the salon to capture something more exotic.

Who it's for

Intermediate-to-advanced violinists preparing for recitals, competitions, or chamber music opportunities will find serious material here. These concertpieces suit players who have developed secure intonation, consistent vibrato, and the stamina for sustained lyrical passages.

How to get the most out of it

  • Shape the phrases in the Ballade with vocal intention; imagine you are singing long lines across the bar rather than thinking in mechanical patterns.
  • The Bolero's rhythmic character depends on clarity and articulation at the piano. Coordinate with your accompanist to establish a clear pulse so the violin can sit comfortably on top of it.
  • Attend to the dynamic architecture in both pieces. Moszkowski marks his transitions carefully; honor the contrasts between forte passages and delicate returns.
  • In the Ballade, use vibrato expressively to warm the longer notes, but give the rapid figuration room to speak without an overly thick sound.

How to use it

These pieces work well as a contrasting pair on a recital program, letting you program one immediately after the other for maximum impact. Alternatively, use the Ballade as a slower movement anchor on a mixed program, or pair the Bolero with other 19th-century character pieces for a themed concert.

Skills your students will build

  • Sustained vibrato and tonal control across an extended passage
  • Phrasing and shape in minor-key Romantic melody
  • Articulation and rhythmic clarity in a dance-like setting
  • Coordination with a piano partner through contrasting musical characters
  • Dynamic contrast and control across a full range of intensities

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