Moscheles, that amiable piano virtuoso who prepared the vocal score of Fidelio, taught Mendelssohn and was for some time conductor of the Philharmonic Society in London (to which he introduced Beethoven's Missa solemnis), is one of those unfortunates who is periodically 'discovered', arousing surprised admiration, and then (most unjustly) quickly forgotten. Five years ago Noel Lee recorded some of his piano music (about which William Mann had earlier written enthusiastically—Arion ARN38559, 6/81): now he is joined by the excellent artist who is principal flute with the Bavarian Radio Symphony Orchestra in Moscheles's complete works for flute and piano duo.
Though considerable virtuosity is demanded from both (for the two instruments are treated on absolutely equal terms), these are by no means mere showpieces. One can understand a contemporary critic's delight at the ''original... truly ingenious'' Op. 79 Sonata of 1828, whose happy and delicate character is admirably caught here: the more extended (a little too extended?) sonata of ten years earlier shows a distinct individuality, not least in its strange restless modulations—though not all of these are entirely convincing. (I observe with interest that Adorjan takes five minutes less over this work than he indicates in his own published edition!) Particularly appealing are the variations on a somewhat Schumannesque theme, which are decorative but not empty: Adorjan's cool clasical style, which exactly suits Moscheles, lends them charm, and Lee, who throughout the records shows himself a most sensitive and musicianly chamber player, brings drama to the solo piano variation. There is brilliant pianism too in the melodious Divertimento a la Savoyarde (which holds an echo of Beethoven's Op. 26 Piano Sonata): the first of its four linked movements reappears in modified form as the third, and its first two movements are connected thematically. A curiosity appears in the Op. 82 Divertissements in the shape of a fantasy on Haydn's Emperor Hymn; and Scots can ponder the authenticity of the 'Bardic strains' on which Moscheles wove another fantasy (dedicated to Sir Walter Scott), originally for piano with or without orchestra. This issue is a definite 'must' for all flautists.'