Ignaz Moscheles

In the following post I will give a brief biography of the main points of the composer. A common question that always comes up when you are a PhD student is the obvious one, what is my topic?  I am researching the “The Reception of Ignaz Moscheles in the 19th century”. The second question that so followed is “What’s the name of the composer again?”.  And then people looked puzzled. So who is Ignaz Moscheles?

Ignaz Moscheles 1859
Engravement by J O Berger, 1859.

To many, the name Ignaz Moscheles does not ring a bell. To some, he was one of the many early 19th century pianists and composers, who unfortunately faded away. Moscheles though, during his time was a well known and appreciated virtuoso pianist, conductor and composer. He was always a great teacher of well known pianists, such as Felix Mendelssohn, Sigismond Thalberg and Henry Litolff,  as well as a book editor (he edited and translated into English Beethoven’s biography by Anton Schindler).

Isaac or Isaak Moscheles, as he was firstly named, was born in Prague on May 23, 1794, to a Jewish family. Quoting his great-great grandchild Jerome Roche: “Moscheles had a knack of being in the right place at the right time, mixing with all the right people”. And this is actually true since it seems that he was always at the right place, at the right time where he met many well known  prominent people of his time.

At the age of 14, in 1808, he moved to Vienna to pursue further his studies. In Prague he started his musical studies with Dionys Weber, and then in Vienna he continued with Johannn Georg Albrechtsberg and Antonio Salieri who, in 1811 appointed him as Kapellmeister-Abjunct of the Court Theater. Moscheles from an early age developed a passion of Beethoven’s music. In 1810, he got a change to actually meet Beethoven at the shop of the music publisher Domenico Artaria in Vienna:

Presently Artaria called me in, and said, “This is Beethoven!” and, to the composer, “This is the youth of whom I  have just been speaking to you.”  Beethoven gave me a friendly nod, and he had just heard a favorable account of me. [1]

Then, in 1814 Moscheles was invited by Artaria to write a piano reduction of  Beethoven’s Fidelio. The arrangements were corrected and approved by Beethoven before being published. The British Library in London has a few publications of different pieces from Beethoven’s Fidelio that were arranged by Moscheles. Moscheles kept in contact with Beethoven until his last moments. He even helped to arrange to send him  financial help in his last moments, 100l,  with the Philharmonic Society.

The next important chapter of Moscheles’ life was when he settled in London in 1825. In March 1, he got married to Charlotte Embden in Hamburg, and on May 2 they moved to London where they stayed until 1846. Moscheles’ first appearance in the country was on 11 June 1821 where he performed his own Piano Concerto No.2 in E flat major, Op.56 at the final concert of the Philharmonic Society. At the Philharmonic Society he also appeared as a conductor on 9 April 1832. He firstly conducted a symphony of his own; Symphony No.1 in C major, Op. 81. Three years later, on 27 April, he conducted for the second time his own composition, the overture Jeanne d’Arc, Op.91. In 1859, Moscheles was awarded as an Honorary Member of the Philharmonic Society of London.

From his first appearance, he was already highly praised in the country. His was well known for his Alexander Variations, named The Fall of Paris in England, which was performed by him and from other performers at the time. The Morning Post, called him on 18 June 1821 as the “the great star of the evening”  and  a “truly great performer”. The Morning Chronicle on the 7th of the following month wrote that he is

a union of some of the best players that we have ever heard ; he has CLEMENTI’S science, CRAMER’S expression, and KALKBRENNER’S brilliancy. His execution is amazing, but this is a quality that ought to be only valued as a mean ; the rope-dancer and the cripple, who without hands, fabricates watch-papers, vanquish difficulties, much more astonishing than any that the musician has to encounter. The merit of this performer consists in his making such a right application of his genius, and such a wise use of the mean acquired by his indefatigable industry, as shew him to be a man of taste and judgement.

So only from these two concert reviews it is observed how highly he was praised and appreciated in the country. Even Schumann when he was a child and heard Moscheles playing in Karlsbad said “I shall take him for an example in everything”. Even though he wasn’t a student of Moscheles, he admired him and thought of him as a role model from a young age. [2]

Although, his reputation faded away, Moscheles offered a great deal to the musical world. In fact in 1837 he introduced his ‘Classical Pianoforte Series’ where he aimed to perform as the only instrumentalist, specifically on the piano. The specific series included early music for the piano by composers such as Bach, Beethoven, Mozart, Purcell and Scarlatti. Nonetheless, even though the series were presented in the newspapers as ‘Classical Pianoforte Series’, Moscheles also included vocal music in the programme which was conducted by Sir George Smart. As claimed by his wife, he did that as a “precaution” in order to “relieve the monotony which people warned him against”since until then instruments did not perform solo in concerts. Moscheles, in the specific series, had also introduced the harpsichord which has not been used in public concerts for a long time.[3] He used one that was built in 1771 and was “in possession of Messrs. Broadwood”.[4] This was advertised as “A selection from the Suites of Lessons (including the celebrated Cat’s Fugue), as originally written for the harpsichord; and by desire, performed on that instrument by Mr. Moscheles, D. Scarlatti”.[5] The advertisement proved that the specific pieces were indeed originally written for the instrument, thus Moscheles decided to perform them in their original form. This was one of his purposes of performing early music; to promote early music and not neglect the previous school.

From 1838, Moscheles started realising the change that was happening in the virtuosic musical world. The new school of music differed from his preferred style.

I play all the new works of the four modern heroes, Thalberg, Chopin, Henselt, and Liszt, and find that their chief effects lie in passages requiring a large grasp and stretch of finger, such as the peculiar build of their hands enables them to execute; I grasp less, but then I am not of a grasping school. With all my admiration for Beethoven I cannot forget Mozart, Cramer, and Hummel. Have they not written much that is noble, with which I have been familiar from early years? Just now the new manner finds more favor, and I endeavor to pursue the middle course between the two schools, by never shrinking from any difficulty, never despising the new effects, and withal retaining the best elements of the old traditions”.[6]

Thus, from then his performances started decreasing. In 1839 he wrote:

The leading features of this school are the cultivation of amazing powers of execution, overwrought sentimentality, and the production of piquant effects by the most rapid changes from the soft to the loud pedal, or by rhythms and modulations, which, if not to be completely repudiated, are only allowable on the rarest occasions. It is quite natural that I should not ally myself to this modern action; a great deal they do, I would not ; their power I could not imitate, although in my own school of playing I feel in full vigor without any trace of age or want of nerve. In my school such a prodigal display of mechanical power was a thing unknown. For the future, should the world take less interest in my performance as an executant, my desire will be the more ardent to cultivate music in accordance with my own taste and convictions. As to how and what I shall compose, this too is veiled in the future. Hitherto I have introduced my works to the public by the medium of my own pianoforte playing; will the musical world when I retire continue to take interest in them? ‘Nous verrons.’ “.[7]

Leipzig Conservatorium
Leipzig Conservatorium (1843-1887)

As previously mentioned, he was the teacher of Felix Mendelssohn. Moscheles had developed a different relationship with Mendelssohn in comparison to his other pupils. The two became very close family friends, and Mendelssohn had even christened Moscheles son and named him after him, Felix Moscheles. In 1846, Moscheles accepted a position, by his friend Mendelssohn, as a “Director of Pianoforte Study and Instruction in Performance and Piano Composition” at the Conservatoire of Leipzig (now called The University of Music and Theatre »Felix Mendelssohn Bartholdy«, the oldest music University in Germany). The streets where the Conservatoire in Leipzig is located bear the names of famous composers; such as Mozartstraße, Beethovenstraße, Robert-Schumann-straße. They could not have missed out Moscheles! Moschelesstraße crosses over Sebastian-Bach-Straße. Moscheles taught at the conservatoire until his last breath, on 10 March 1870.

Although, he decided not perform in public anymore, after moving to Leipzig he did not completely abandon the concert stage. There are instances were he performed not only in Leipzig but also in other countries as well. Going back to Jerome Roche’s statement that Moscheles was always ‘in the right place at the right time, mixing with all the right people’, through out his life he met with and performed with distinguished names. Not only with Mendelssohn but with people such as Ludwig van Beethoven,  Franz Liszt, Frederick Chopin, Clara Schumann, J. B. Cramer, Sigsmond Thalberg, Friedrich Kalkbrenner and many more!

Ignaz Moscheles
At Fryderyk Chopin Museum in Warsaw

So observing from his relationships, his praise in the press and his offers in the musical world it is quite surprising that his reputation faded away and his music and even his name is known to few. I was very surprised to see a small portrait of Moscheles in Warsaw when I visited the Fryderyk Chopin Museum.

I have briefly summarised Moscheles’ life. For more detailed information of his life see:

  • Mark Kroll, Ignaz Moscheles and the Changing World of Musical Europe (Woodbridge, Suffolk: Boydell Press, 2014).
  • Charlotte Moscheles, ed., Recent Music and Musicians, as Described in the Diaries and Correspondence of Ignaz Moscheles, trans. A.D. Coleridge (New York: Henry Holt and Company, 1879).

here are a few CDs available with his music, and there are a few recordings available online on Youtube. You may visit the links if you wish to listen to his fascinating music!

Moscheles’ Signature


[1]  Anton Schindler, The Life of Beethoven, ed. Ignaz Moscheles (Boston: Oliver Ditson Company, 1840), v-vi.

[2] Clara Schumann, ed., Early Letters of Robert Schumann, trans. by May Herbert (London: G. Bell and Sons, 1888), 131.

[3] Charlotte Moscheles, ed., Recent Music and Musicians, as Described in the Diaries and Correspondence of Ignaz Moscheles, trans. A.D. Coleridge (New York: Henry Holt and Company, 1879), 236.

[4] Ibidem.

[5] The Musical World, February 24, 1837, p. 155.

[6] Moscheles,  Recent Music and Musicians, 250.

[7] Ibidem, 255-256.

Moscheles’ Biography in 1824

Ignaz Moscheles 1827 engraving after Lieder
1827, engraving by Friedrich Lieder

Continuing from my previous post, Ignaz Moscheles, in which I have given a general biography of the main points of Moschele’s life, The Harmonicon on May 1824 published a biography of Moscheles.

Moscheles in 1824 was planning to give concerts in England. Two concerts had already been advertised in the press: one in Bath on February 10, and one in Bristol on February 19. Unfortunately Moscheles, at that time had fallen ill and for four months had stayed home in Prague under the care of his mother.

‘No sooner had he arrived at Prague than he became dangerously ill, and was laid up for four months in his mother’s house.  He was therefore obliged to forfeit his engagements in England for the winter and spring. The newspapers actually announced his death, but severe as the crisis was through which he passed’. (RMM, 61)

Moscheles' birthplace in Josefstadt, Prague
Josefstadt, Prague. Moscheles’ birthplace
Harmonicon 1824, pg 90

Due to his absence, many papers announced him dead. In May 1824, The Harmonicon, contradicted the rumour and quoted Moscheles from one of his letters:

A few months later, in October, The Harmonicon, published the memoirs of Moscheles. The article discusses briefly Moscheles’ youth and how his interest in music evolved and developed. The specific ‘story’ is the same one told by Charlotte Moscheles in her book Recent Music and Musicians, as described in the diaries and correspondence of Ignatz Moscheles.

In Moscheles words:

“In those days I heard the great French Revolution and all its horrors constantly discussed. Military instincts were uppermost, even in the minds of boys, and there was no end to the playing at soldiers. When the military band performed parade music in front of the guardhouse, I was seldom absent. The bandsmen got little boys to hold their music for them, and I was always at hand to undertake the duty. Coming home all enthusiasm from these street concerts, I used to say, ‘I too will be a musician’ (Spielmann)[ Ich will auch Spielmann werden]. My father…played the guitar, and sang as well. I owe to him my first impulses towards a musical career, for he used constantly to say, ‘One of my children must become a thoroughbred musician’—words which made me desire that I might be that one child. My father, however, began with my eldest sister. During her pianoforte lessons, I used to stand, mouth and ears wide open, by the upper  C (the extreme limit of the little instrument), watching how my sister worked her way through the little pieces, which she never thoroughly mastered. When by myself I had tried to spell out these same pieces, it seemed to me anything but a difficult matter. My sister’s clumsy playing was trying to my temper, and on one occasion I forgot myself so far as to call out, ‘Dear me, how stupid ! I could do it better myself.’ Zadrakha, the old master, chuckled incredulously, but allowed me nevertheless to jump up on the music-stool and play instead of my sister. His report to my father must have been a favorable one, for a few days afterwards I was suddenly informed that a trial should be made with me instead of my sister” (RMM, 1-2)

Aus moscheles leben pg 12

Later on in Vienna, he studied the theory of music, bass and counterpoint, with Albrechtsberger and afterwards he became a pupil of Salieri, where he was also offered to become  ‘his deputy Kapellmeister at the Opera for three years’.

Moscheles’ admiration of Beethoven started from the age of 7; at the time his teacher was Horzelsky. As he writes: ‘Although but seven years old, I actually ventured upon Beethoven’s Sonate Pathetique. Imagine if you can how I played it ; imagine also the Beethoven fever, to which I fell a victim in those days—a fever which goaded me on to mangle the other great works of the immortal author.’ (RMM, 3). To his disappointment though, it felt like he was “expelled from Paradise” (RMM, 4). His next teacher, Dionys Weber, forbade him from playing Beethoven: “The first year he must play nothing but Mozart, the second Clementi, and the third Bach ; but only that—not a note as yet of Beethoven, and if he persists in using the circulating libraries, I have done with him for ever”. (RMM, 4) Nevertheless, this had not seized his love for Beethoven, and as I already discussed in my previous post (Ignaz Moscheles) Moscheles firstly met Beethoven in 1810.

The Article by The Harmonicon, October 1824

[or you may read the article from the original published article found at the end of the page]:


Moscheles was born on the 30th of May, 1794, at Prague, in Germany, which though, for general civilization, far below most other provinces of the German empire, certainly yields to none in music. If the heroes of literary as well as civil history, as Dr. Johnson says, are often more remarkable for what they have suffered, than for what they have achieved, this observation does not in the least apply to the subject of the present memoir. There are, on the contrary, few men, eminent in science or art, whose life has been so uniformly happy and prosperous; whose road to excellence has been so agreeably cleared of discouraging obstacles, as that of M. Moscheles. Being born with as much genius as love for music, in a city which at all times has abounded in first-rate masters, and of parents, who, being themselves musical, omitted nothing that could contribute to qualify their favourite child for great attainments in his art, the extraordinary perfection of M. Moscheles seems no more than the natural result of such a combination of advantages.

Moscheles gave the first indication of his talent for music so early as his fifth year, since which the study of the art appears to have taken entire possession of his inclination. When his eldest sister received her lessons on the clavichord (the piano-forte at that time being but little known in Bohemia) he could not be restrained from being present, and manifested his impatience whenever she did not immediately comprehend her master’s instruction, and frequently cried out with much impatience, “Wrong, wrong,” if she failed in striking the right key. It was then his amusement, after her lesson, to find out for himself on the same instrument the airs he had just heard; a piece of musical research, in which he was always more or less successful. These, and similar prognostics of future eminence, induced his father, after having had him instructed in the elements of the science, by an old organist, named Zaradka, to place him under Dionys Weber *, the great theorist, and justly-famed director of the Conservatory of Music at Prague.+

Weber put young Moscheles, now in his eighth year, to several very severe trials of skill, in order to obtain a positive proof of the wonderful genius which the boy was said to possess, who having acquitted himself on these occasions, in a convincing manner, his master gladly undertook to complete his entire musical education within the period of four years, on condition that his pupil should, at any hour of the day the tutor pleased, be at his command for receiving instruction.

Moscheles had now to devote all his time (except the few hours which were employed in Latin and the other small branches of learning generally taught in schools) to the more delightful art and science of music. The road to and from his master’s house was, indeed, a lively type and illustration of the difficulties which he must encounter, who would

Climb the steep ascent of Fame;

for he was obliged to travel, through all seasons of the year, a long and irksome distance up and down hill, from the old town to the new, to receive his lessons. But so far, however, from becoming tired or disgusted with his musical pursuits, he still shewed the most decided aversion to every other profession. The severe pain his father had given him, by making him copy mercantile letters, with a view to frame his mind for his own profession, that of a merchant, could only be compensated by the noble present he at that time made him of a piano-forte. By his own confession, the little artist forgot, on this great occasion, eating, and drinking, and the other usual habits of every-day life, and could not be separated from his instrument, or prevented from endeavouring to express his joy and delight in extempore fantasies.

This event, though very unimportant in itself, gave a new and powerful impulse to his exertions; and with the excellent instruction of his master, who made it his business to develop, in a systematic manner, the whole extent of his natural abilities, he made within one year so rapid a progress, that he was able to play the works of Mozart and Clementi, with a precision and taste, that excited the wonder of all connoisseurs. His master observed in his style of playing a predilection and disposition for the grave and solemn, and immediately determined to turn this to account. He introduced him to the acquaintance of the old masters, in what is called the “strict style,” particularly Handel and Bach, and steadily insisted upon his pupil’s confining his studies to the works of these admirable men, but above all to accomplish the performamce (sic) of their fugues in their true spirit of energy and grandeur. May this example not be lost upon young musicians, who would wish to attain permanent eminence. M. Moscheles admits that he cannot sufficiently extol the advantages which he derived from this mode of teaching. He thereby gained an entire command over his instrument, and combining, with the most brilliant execution and refined expression, a quickness of reception, and presence of mind, was soon enabled to play, at first sight, even pieces of excessive difficulty.

Having now acquired the chief principles of the theory of music, his inclination for composing could no longer be restrained. Unfortunately, but naturally for so aspiring a genius, he first attempted the different modes of grand composition; but as they did not, in a wiser hour, prove very satisfactory even to himself, he withdrew those juvenile productions for ever from the public eye.

Little Moscheles, however, at the early age of eleven, passed for the first piano-forte player in Prague; and in public concerts made an extraordinary sensation, his musical reputation as a child being fully equal to that of Liszt or even of Hummel, to whom he may be compared in many other respects. The Leipzic Musikalische Zeitung of 1806 is boundless in its praises of his performance of Mozart’s piano-forte concertos, and concludes by saying, “It is wonderful what this child is capable of, even in composition.”

Thus gifted, and furnished with every thing that was calculated to ensure supreme excellency at a maturer age, he repaired in his fourteenth year to Vienna, then the seat of men of the rarest talents. The acquaintance of the great Haydn, who already stood on the brink of the grave, could not fail to inspire him with new ardour. Albrechtsberger, the master of the immortal Beethoven, and of every Viennese artist who has acquired some fame, and the most celebrated teacher of the theory of music that Vienna, and perhaps all Germany, ever had to boast, added another noble name to the list of his pupils, and became the master of Moscheles. Agreeably to the practice of many Viennese artists, who have often three separate masters, one for instruction in playing, another for the theory, and a third for the vocal branch, Moscheles chose an Italian vocal composer, in preference to a German, and, like Hummel, took lessons of Salieri, the grand maestro di capella to the emperor. It is well known, that Moscheles became in a short time the favourite of this great master, both on account of his promising abilities and his agreeable and engaging manners; and the zeal with which Salieri endeavoured to awaken in him a talent for vocal composition, or at the least to give his instrumental pieces more melody and flow, deserve most honourable mention. In order to promote the views of his pupil in every possible way, Salieri procured him an excellent situation as  “Chapel master, adjunct,” at the Imperial Theatre for three years, which afforded him the finest opportunity of becoming intimately acquainted with the nature and management of grand orchestral music. Yet, notwithstanding so many extraordinary advantages, M. Moscheles has often confessed to his friends, that he owes the best part of his musical attainments, both as a player and as a composer, to his own study and indefatigable application.

He had now become the great attraction at all the most fashionable concerts of the capital; Hummel and himself being universally allowed to be the two greatest piano forte players in Germany. A young man who has been fortunate enough to gain a reputation like this in Vienna, may make himself perfectly easy as to his success in every other great city of the empire.

Hence M. Moscheles was received in every part of the country, particularly at the courts of Bavaria and Saxony, with the most flattering applause. In 1820 he set out on a musical tour through Holland, France, and England; the brilliant success he met with at Amsterdam, Paris, and London, must be in every one’s recollection. The years 1821 and 1822 he passed alternately in France, (where he gave a concert in different towns jointly with Lafont, the violin player,) and in England. In 1823, he proceeded, in the month of August, with a friend, on another tour to Frankfort, Munich, and Vienna. In this latter metropolis, he was, as might have been expected, most enthusiastically received, and produced a sensation such as has, perhaps, been never before witnessed. The most impartial judges agreed in considering his playing as the ne plus ultra ; and they could imagine nothing more perfectly brilliant or more exquisitely finished. Towards the close of the same year, he set out for his native town of Prague, being now in the zenith of his fame, and in the full possession of every thing, after which mortal beings so eagerly strive. No sooner, however, had he arrived in that city, to enjoy, in the midst of his dearest relations, that long and anxiously-looked for domestic happiness, which he had been deprived of for so many years, than he was attacked by a severe malady, under which he has been lingering, frequently in danger of life, nearly up to the present moment; but as he is fast approaching to perfect recovery, this country will, most likely, see him once again at the commencement of the new year. The concern with which the news of his illness, and the subsequent report of his death, were received here, in Germany, and in France, bears ample testimony to the estimation in which he is held both for his talent, and for the goodness of his moral character.

To say much of his compositions is needless; they are all stamped with the character of originality; are exceedingly full of fancy, and peculiarly well adapted to the astonishing extent and versatility of his own powers of playing. In nearly all of them the beneficial effects of a strictly classical education, and of a sound study of the imperishable models of Bach, Handel, and Mozart, may be easily discerned. His principal works are, his piano-forte concertos; a sonata dedicated to Beethoven: “The Fall of Paris,” one of the most brillant and effective of his productions; the sestetto in G, and the grand duet which he performed in London with Mr. J. B. Cramer.

* There are three individuals of great musical celebrity bearing this name, all natives of Germany, but in no way related to each other : Anselm Weber (lately deceased), maestro di capella to the King of Prussia, author of many successful operas; the well known Freischutz composer, Carl Maria von Weber; and the above mentioned Dionys Weber.

+ Of which we shall give an account in our next Number.”

The_Harmonicon-2 1824 pg 176

Publications List

The following post is a list of Moscheles works. I have located a lot of Moscheles’ publications that not only do not have an Opus Number, but they have not been catalogued as well. The following includes only his catalogued music.

A thematic catalogue of Moscheles’ works exists and it was firstly published in 1858 by Kistner, and reprinted in 1966. (Thematisches Verzeichniss im Druck erschienener Compositionen von Ignaz Moscheles). Charlotte Moscheles in her book Aus Moscheles Leben includes at the end ‘A Complete Catalogue of Compositions’. Unfortunately, the list is incomplete. The Thematic Catalogue by Kistner includes Moscheles compositions until Op. 136, whereas Charlotte until Op. 142. Both catalogues include a second list with published compositions without an Opus number. The list provided by IMSLP includes a few more works without Opus numbers, and Mark Kroll liste further more compositions in his book Ignaz Moscheles and the Changing World of Musical Europe, (Woodbridge, Suffolk: Boydell Press, 2014). The following list I created is based on the sources I have just mentioned. I have located many more published compositions, and even compositions I know that were published through researching 19th century newspapers and periodicals, however I only list uncatalogued music that I have found recordings of.

In the following list, where available I link a music score and a video recording of the piece. I have also created the following playlist on YouTube for Moscheles’ works. It includes videos by various pianists all over the world. There are also quite a few CD’s recorded of Moscheles’ music, for instance by Hyperion Records, but since they are not available online for free I have not included any recordings from them.

List of works with Opus Number

  • Op.1       Variations on a Theme from Mehul’s Opera, Une Folie for the pianoforte
  • Op.2       Ten Variations on a Favourite Air from the Opera Die Dorfbarbier for the pianoforte
  • Op.3       Polonaise in D major for the pianoforte  Listen ♬
  • Op.4       New Sonatine easy and popular for the pianoforte
  • Op.5       Variations on a Favourite Air by Weigl, ‘Wer hörte wohl jemals mich klagen?’ for the pianoforte
  • Op.6       Variations on an Austrian National Air, ‘Müsts ma nix in Uebel aufnehma’, for the pianoforte
  • Op.7       Variations on a Cavatina ‘Tu sei il mio dolce amore’ from the Opera Trajano in Dacia for the pianoforte
  • Op.8       Ten Valses for the pianoforte
  • Op.9       Five German Dances  for the pianoforte
  • Op.10     Triumphal March with two Trios for four hands on the pianoforte
  • Op.11     Two Rondos for the pianoforte, composed on favourite Themes of the Ballet Les Portraits 
  • Op.12      Rondo with an Introduction on the Favourite Barcarolle ‘The Carnival of Venice’
  • Op.13      Fantaisie Héroïque for the pianoforte
  • Op.14      Rondo Brillante for the pianoforte
  • Op.15      Variations for the piano on a Theme from the Opera The Oculist / Ouverture aus der Opera Die Augenartz von Herrn Adalbert Gyrowetz
    • (arranged for piano four-hands)
  • Op.16      Three Love Songs by Ernst Ludwig with pianoforte accompaniment [‘Traum und Wahrheit’, ‘Der Kuss’, ‘Das Unvergängliche’]
  • Op.17      Introduction and Variations Concertantes for piano, violin and violoncello
  • Op.18     Three Rondos for the pianoforte (arranged for piano four-hands)
  • Op.19      Polonaise preceded by an Introduction for the pianoforte
  • Op.20      Grand Duo Concertante for the pianoforte and guitar (composed by Moscheles and Giuliani)
  • Op.21      Six Variations concertantes for piano and flute or violin Listen ♬
  • Op.22      Piano Sonata in D major
  • Op.23      Variations for piano on a Russian theme Listen ♬
  • Op.24      Rondo Espagnol for the pianoforte   Listen ♬
  • Op.25      Caprice [in A minor] for the pianoforte
  • Op.26      Triumphal Entry of the Allies into Paris, a descriptive piece for the pianoforte
  • Op.27      Piano Sonata (Characteristic) in B flat major Listen ♬
  • Op.28      Six Divertissements for the pianoforte
  • Op.29      Variations for the pianoforte on a Theme of Handel / The Harmonious Blacksmith, a celebrated air by Handel with entirely new variations for piano Listen ♬
  • Op.30      Rondo Brillant for piano four-hands
  • Op.31      Trois Marches héroïques for piano four-hands
  • Op.32  La Marche d’Alexandre Variations for the pianoforte with orchestral accompaniment / Brilliant Variationsfor the pianoforte on The Fall of Paris / Alexander Variations
    • (Arranged with quartet, piano solo, piano four hands)
  • Op.33      Six Valses with Trios for piano four hands
  • Op.34      Grand Duo Concertant for piano and violoncello or bassoon
  • Op.35      Grand Sextuor for piano, violin, flute, two horns and violoncello Listen ♬
    • (arranged for piano four-hands)
  • Op.36      Variations Concertantes on an Austrian National Melody for piano and violin
  • Op.37      Grand Caprice followed by a Potpourri for piano and violoncello or violin Concertants
  • Op.38      Fantasia (in Italian style) followed by a Grand Rondo for the pianoforte
  • Op.39      Introduction and Variations on an Austrian National Air for the pianoforte
  • Op.40     a) Overture to the Ballet of Les Portraits for pianoforte (arranged for piano four-hands)
    • b) Les Portraits, Ballet champêtre et comique de Mr Horschelt (arranged for piano solo and piano four-hands)
    • c) Three Divertissements for piano on Subjects taken from the Ballet Les Portrait
  • Op.41 Grande Sonate for the pianoforte  Listen ♬
  • Op.42    Grand Variations on an Austrian National Melody for piano, two violins, viola, violoncello and double bass or without accompaniment
  • Op.43     Flore. Grande Rondo Brilliant de Concert, preceded by an introduction for piano, accompanied by a quartet or an orchestra ad lib
    • (arranged for piano four-hands and piano solo)
  • Op.44      Grand Sonata Concertante for piano and flute   Listen ♬
  • Op.45      Piano Concerto No.1 in F major
    • (arranged for piano-solo and piano four-hands;  first movement adapted for the piano with an Introduction: Grand brilliant Rondo, duet for piano)
  • Op.46    Fantasia, Variations and Finale on the Bohemian National Song ‘To Gsau Kône’ for piano violin, clarinet (or viola) and violoncello
  • Op.47      Grande Sonate for piano four-hands Listen ♬
  • Op.48      French Rondo. Arranged for piano and violin with a small orchestra or without
    • Small orchestra: (2 Violins, Viola, Cello, Contrabass flute, oboe, 2 clarinets, 2 bassoon, 2 horns along with 2 trumpets and timpani ad lib]
  • Op.49      Sonata Mélancolique for the pianoforte Listen ♬
  • Op.50     Fantasia and Variations on the favorite air ‘Au clair de la Lune’ for piano with orchestral accompaniments
  • Op.51      Three Allegri di Bravura, La Forza, La Leggerezza, Il Capriccio
  • Op.52      La Tenerezza, A rondoletto for the pianoforte
  • Op.53      Polonaise Brillant for the pianoforte Listen ♬
  • Op.54      Les Charmes de Paris. Rondo Brillante preceded by an Introduction for the pianoforte Listen ♬
  • Op.55    Bonbonnière musicale. A set of easy and agreeable pieces for the pianoforteo
  • Op.56      Piano Concerto No.2 in E flat major
    • (arranged for piano with quartet, for piano solo)
    • The third movement was composed in 1814 and was performed as a solo: Polonaise in E flat major; (the Polonaise was arranged further for two performers on the piano and was published as Grand Rondo, À la Polonaise)
  • Op.57     Fantasia on three Favourite Scotch Airs for the pianoforte Listen ♬
    • ‘The Soldier’s return’,  This is no my ain Lassie’, ‘Over the water to Charlie’
  • Op.58      Jadis et aujourd’hui, a Gigue and Quadrille Rondo for the pianoforte Listen ♬
    • Also published in The Harmonicon in 1823:
      • ‘A Gigue, or Dance movement, in the old Style for the piano-forte. Composed purposely for the Harmonicon’
      • ‘A Quadrille-Rondo, or Dance Movement, in the modern Style, for the piano-forte. Composed purposely for the Harmonicon’
  • Op.59      Grand Potpourri Concertant for pianoforte and violin or flute by Moscheles and Lafont
  • Op.60      Piano Concerto No.3 in G minor Listen ♬
    • (arranged for piano with quartet and for piano solo)
  • Op.61      Rondoletto, on a Favorite Nocturne by Paër for the pianoforte
  • Op.62      Impromptu in B minor for the pianoforte
  • Op.63     Introduction and Scotch Rondo Concertante for pianoforte and horn or violin and viola
    • (arranged for piano four-hands)
  • Op.64      Piano Concerto No.4 in E major
    • (arranged for piano four-hands)
  • Op.65     Impromptu Martial, on the English Air, ‘Revenge, he cries and the traitor dies’ for the pianoforte
  • Op.66      La petite Babillarde. A brilliant rondo for the pianoforte Listen ♬
  • Op.67    Three Brilliant Rondos on Favourite Motives from Vauderville, ‘Les Viennois à Berlin’ for the pianoforte
  • Op.68      Fantasia and Rondo Brilliant on an Austrian March / on the German Grenadier’s March
  • Op.69     The Recollections of Ireland. A Grand Fantasia in which are introduced the Favourite Airs the ‘Groves of Blarney’, ‘Garry Owen’ and ‘St. Patrick’s Day’ for the pianoforte with orchestral accompaniments / Souvenirs D’ Irlande  
    • (arranged for piano with quartet and for piano solo)
  • Op.70    24 Studies for the pianoforte designed as Finishing Lessons for Advanced Performers and Consisting of 24 Characteristic Compositions in the Different Major & Minor Keys Fingered & Elucidated with Notes Explanatory of the Author’s Design and the Proper Mode of Executing Each Lesson
    • (arranged for violin with piano accompaniment or violin solo edited by Ferdinand David)
  • Op.71   Rondo Expressif on a Favourite Theme of Gallenberg / Rondeau Expressif pour le piano-forte, sur an Air favori de la Collection de Romances de J. B. Cramer
  • Op.72
    • No.1 Gems à la Pasta. A dramatic fantasia in the Italian style on the favourite airs sung in London by Madame Pasta for the pianoforte
    • No.2  Gems à la Sontag. A Dramatic Fantasia for piano in which are introduced the most Admired Airs sung by Mademoiselle Henriette Sontag / Bijoux à la Sontag. Fantaisie Dramatique sur des Airs favoris chantés à Londres par Mademoiselle Henriette Sontag
    • No.3  Gems à la Malibran. A Dramatic Fantasia for the pianoforte in which are introduced the favorite subjects…as sung in London by Madame Malibran Book 1 / Bijoux à la Malibran Fantaisie Dramatique sur des Airs favoris chantés à Londres par Madame Malibran-Garcia
    • No.4 Gems à la Malibran. A Dramatic Fantasia for the pianoforte in which are introduced the favorite subjects…as sung in London by Madame Malibran Book 2 / Bijoux à la Malibran
  • Op.73     50 Preludes in the major and minor keys. Intended as short Introductions to any Movement and as Preparatory Exercises to the Authors Studies for piano
  • Op.74     Les charmes de Londres. Rondo Brilliant preceded by an Introduction, for the pianoforte
  • Op.75     Anticipations of Scotland. A Grand Fantasia in which are introduced the Favourite Airs ‘Kelvin Grove’, ‘Auld Robin Gray’ and ‘Lord Moira’s Strathspey’ for the pianoforte with orchestral accompaniments ad lib.
    • (arranged for piano with quartet and for piano solo)
  • Op.76     La belle Union. Rondo Brilliant preceded by an Introduction for pianoforte four-hands
  • Op.77     Allegro di Bravura for the pianoforte
  • Op.78     Divertimento à la Savoyarde for pianoforte and flute or violin
  • Op.79     Sonate concertante for pianoforte and flute or violin
  • Op.80   Sir Walter Scott’s Favourite Strains of the Scottish Bards. Introduced in a Fantasia for the pianoforte with orchestral accompaniments ad lib.
    • (arranged for piano solo)
  • Op.81     Symphony No.1 in C Major Listen ♬
    • (arranged for piano four-hands)
  • Op.82a   Rondo Sentimental for the pianoforte Listen ♬
  • Op.82b   4 Divertissements for the pianoforte and flute
  • Op.83     TheRecollections of Denmark. A Grand Fantasiaon National Airs for the pianoforte with orchestral accompaniments (ad lib.) / Souvenirs de Denmark
    • (arranged for piano solo)
  • Op.84      Grand Trio for piano, violin & violoncello
  • Op.85    La Gaieté. Brilliant Rondo preceded by an expressive slow movement for the pianoforte Listen ♬   Listen ♬♬
  • Op.86a    March with trio for piano four-hands
  • Op.86b    Souvenir de Rubini. A Dramatic Fantasia for the pianoforte in which is introduced the favourite Cavatina ‘De Quel Di’ from Anna Bolena Listen ♬
  • Op.87    Piano Concerto No.5 in C Major with or without orchestral accompaniments Listen ♬
    • (arranged for piano with quartet and piano solo)
  • Op.87a    Operatic Reminiscences. A Dramatic Fantasia for the pianoforte. Introducing the most Admired Airs sung by Madame Pasta, Bellini’s Opera Norma / Souvenir de l’Opéra. A Dramatic Fantasia for the pianoforte on favourite airs sung in London by Madame Pasta in the Operas by Bellini
  • Op.87b   The Gipsies March (from Weber’s Opera Preciosa) with Brilliant Variations for two performers on the pianoforte / Duo Concertant for piano four-hands with orchestral accompaniments in the form of Brilliant Variations on the Bohemian March from the Melodrama Preciosa
    • Introduzione Listen ♬
    • Allegretto, tempo di marcia Listen ♬
    • Variation 1: Listen ♬
    • Variation 2: Listen ♬
    • Variation 3: Listen ♬
    • Variation 4: Listen ♬
    • Finale: Allegro Vivace  Listen ♬
    • Composed by Ignaz Moscheles and Felix Mendelssohn-Bartholdy. The first two variations are by Mendelssohn; the third and fourth are by Moscheles
    • (arranged for two pianos with orchestral accompaniment)
  • Op.88  Grand Septet for piano, violin, viola, clarinet, horn, violoncello and contrabass Listen ♬
    • (arranged for piano solo and piano four-hands)
  • Op.89      Impromptu for the pianoforte Listen ♬  Listen ♬ (Midi)
  • Op.90      Piano Concerto No.6 in B flat Major, Concert fantastique, with orchestral accompaniments Listen ♬
    • (arranged for piano with quartet and for piano solo)
  • Op.91    Overture for full Orchestra to Schiller’s Tragedy, Joan of Arc La Pucelle d’Orléans
    • (arranged for piano four-hands)
  • Op.92       Hommage a Händel. A Grand Duet for two pianofortes / with a new Introduction in 1835 Listen ♬
    • (arranged for piano four-hands)
  • Op.93       Piano Concerto No.7 in C minor, Pathétique with orchestral accompaniment
    • Mov I. Allegro Listen ♬
    • (arranged for piano with quartet and for piano-solo)
  • Op.94a     Rondo Brillant on Dessauer’s Favorite Romance, Le Retour des Promis.
  • Op.94b    Characteristic Tribute to the Memory of Malibran. Fantasia for the pianoforte / Hommage Caractéristique
  • Op.95  Grand Characteristic Studies for the pianoforte designed for the Development of the Bravura and various other Styles of Performance
    • (Wrath, Reconciliation, Contradiction, Juno, A Nursery Tale, Bacchanale, Affection, Alla Napolitana, Moonlight on the Sea-Shore, Terpsichore, A Dream, Terror)
    • No. 1 Wrath Listen ♬
  • Op.96      Piano Concerto No.8 in D Major, Pastorale, with orchestral accompaniment
  • Op.97      Six Lieder with piano accompaniment
    • (‘Stumme Liebe’, ‘Der Schmied’, ‘Zuversicht’, ‘Das reh’, ‘Im Herbste’ ‘Sakontala’)
    • Songs written by Madame Cecile Mendelssohn
  • Op.98      2 Etudes for piano for the album Méthodes des Méthodes
    • 1. L’enjouement, 2. L’ambition
  • Op.99       Tutti Frutti, Six new Melodies for the pianoforte
  • Op.100     Ballade for the pianoforte
    • (arranged for piano four-hands)
  • Op.101     Romance and Brilliant Tarantelle for the pianoforte
    • (arranged for piano four-hands)
  • Op.102   Hommage à Weber. Grand Duet for piano four-hands on subjects from Euryanthe and Oberon
  • Op.103     Serenade for the piano
    • (arranged for piano four-hands)
  • Op.104     Romanesca for the piano
    • (arranged for piano four-hands)
  • Op.105   Two capriccios in the form of studies for the piano. Composed for the Beethoven Album Listen ♬
  • Op.106   Brilliant Fantasia for the pianoforte on a favourite Cavatina from Rossini’s Zelmira and a Ballad from Mozart’s Seraglio.
  • Op.107    Daily Companion of Practical & Progressive exercises on the harmonized Scales being a series of 59 characteristic duets for the pianoforte, in all the major & minor keys, fingered & adapted for the use of musical academies, or as useful diversions for students [Two Volumes]
  • Op.108  Two Brilliant Fantasias for the pianoforte on favourite airs from Balfe’s Bohemian Girl [Two Books] 
  • Op.109a   Brilliant Fantasia on the favourite themes from the opera Don Pasquale for the piano
  • Op.109b Mélange on the ‘Serenade’ and other favourite airs in the opera Don Pasquale Donizetti for the pianoforte
  • Op.110    Gondolier’s Lied for the pianoforte
  • Op.111    Quatre Grandes Etudes de Concert for the pianoforte
    • (Rêverie et Allégresse, Le Carrillon, Tendresse et Exaltation, La Fougue)
  • Op.112    No.2 Grande Sonate Symphonique for piano four-hands
  • Op.113   Album of the Favourite Songs of Pischek, transcribed for the pianoforte in the form of a Brilliant Fantasia
  •  Op.114    Gems à la Jenny Lind. Fantasia on the most favourite Swedish melodies sung by Mlle Jenny Lind / Souvenirs de Jenny Lind
  • Op.115     Les Contrastes. Grand Duet for two pianos Listen ♬
    • (arranged for piano four-hands or eight-hands) 
  • Op.116  Freie Kunst. A poem by Uhland. For a bass or alto voice with piano accompaniment
  • Op.117 Six Lieder with piano accompaniment
    • (‘Liebeslauschen’, ‘Dem Liebesänger’, ‘Warum so stumm’, ‘Botschaft’, ‘Schäfers Sonntagslied’, Frühlingslied’)
  • Op.118     Grand Valse for piano
  • Op.119    Six Songs with piano accompaniment
    • (‘Abends’, ‘Die Zigeunerin’, ‘Strenge’, ‘Jemand’, ‘Der Liebenswürdigen’, ‘Der dreifache Schnee’)
  • Op.120     Mazurka Appassionata for piano
  • Op.121     Sonata for piano and violoncello
    • (arranged for piano and violin by Ferdinand David and for piano four-hands by Clara Schumann)
  • Op.122     Expectation (after Schiller) Fantasia for the piano
  • Op.123     Magyaren-Klänge. Original-Fantasia for the piano
  • Op.124     Longing (after Schiller) Fantasia for the piano
  • Op.125     Spring song. For a soprano or tenor voice with piano accompaniment
  • Op.126     Grande Etude de Concert Listen ♬
  • Op.127     Scherzo for the piano
  • Op.128     Humoristic Variations. Scherzo and Variations for the piano
    • (arranged for piano four-hands)
  • Op.129     The Dance. Characteristic Piece (after Schiller) for the piano
    • (arranged for piano four-hands)
  • Op.130    Symphonesque-Heroic March on German National Songs for piano four-hands
    • (arranged for two pianos)
  • Op.131  Six Songs with pianoforte accompaniment
    • (‘Gieb unstäglich Brod’, ‘Frühlingsliebe’, ‘Schmetterling und Liebchen’, ‘Am Meere’, ‘Inniges Verständniss’, ‘Tanz=Reigen der donischen Kosaken’)
  • Op.132     Four Duets for Soprano and Alto with piano accompaniment
    • (‘Des Lilien=Mädchens Wiegenlied’, ‘Am Bache’, ‘Unter Bäumen’, ‘Winter und Frühling’)
  • Op.133     Reverie Melodique for the piano
  • Op.134     Toccata for the piano
  • Op.135     Pastoral in the Organ Style
  • Op.136     To G. Rossini ‘To the Rivulet’. Song with horn (or viola) obligato and piano
  • Op.137a   Studies in Melodious Counterpoint for piano and cello (10 Preludes from Bach’s 48 with cello obbligato)
  • Op.137b  Studies in Melodious Counterpoint for piano and 2nd piano (10 Preludes from Bach’s 48 with second piano) Listen ♬
  • Op.138  Feuillet d’Album de Rossini. An original theme for piano and horn
    • (arranged for piano and viola and for two pianos)
  • Op.139     Lied im Volkston with Variations on an original theme for piano [duet]
  • Op.140    Domestic Life. Twelve progressive piano pieces for piano four-hands (2 Books) / Familienleben
  • Op.141    March and Scherzo as Rhythmical Exercises / Two duets for pianoforte students
  • Op.142    Three Character Pieces for piano four-hands
    • (‘Die kleine Schwätzerin’, ‘Abend-Empfindung’, ‘Des Knaben Reise auf dem Schaukelpferd’)

List of works without Opus Number

  1. Souvenir de Belisaire. Two Fantasias for the pianoforte on favourite airs from Donizetti’s Belisario 
  2. Fantasia for the pianoforte on favourite subjects from Balfe’s opera Falstaff
  3. Fantasia on themes from Oberon (C. M. von Weber)
  4. Fantasia à la Paganini for the pianoforte
  5. Fantasia on Motives from Balfe’s Opera The Siege of Rochelle for the pianoforte [Two fantasias]
  6. Bouquet des Mélodies. Fantasia for the pianoforte on favourite airs
  7. Four Pensées fugitives pour le Piano [Romance, Nocturne, Impromptu, Rhapsodie]
  8. Andante and Brilliant Rondo in which is introduced the German Bacchanalia Song sung by Mr H. Phillips, for the pianoforte
  9. The Popular Barcarolle, ‘Or che in cielo’ sung by Signore Ivanoff, in Donizetti’s Admired Opera Marino Faliero arranged as a Fantasia with Variations for the pianoforte
  10. Echo of the Alps. A Fantasia for the pianoforte which are introduced the Popular Swiss Airs, ‘The Pastor of the Alps’. The Goatherd’s Boy’, ‘The Swiss Drover’ with the much admired Embellishments as sung by Madame Stockhausen
  11. Die Tyrolerfamilie. Three Divertissements for the pianoforte
  12. A Divertimento for the pianoforte in which are introduced the favourite National Swiss Airs as sung by The Tyrolese Family Rainer, with the most rapturous Applause at The Dejeune given at Kensington Palace by Her Royal Highness the Duchess of Kent
  13. Divertissements on Swiss National Airs for the pianoforte
  14. Rondo on a favourite Scotch melody for the pianoforte
  15. Military Rondo, on the favourite duet, ‘Entendez-vous’ from Auber’s La Fiancée, for the pianoforte
  16. Farewell march of the laudable Infantry Regiment Emperor Alexander on the occasion of his departure from Vienna on April 12, 1815, to fight for Germany’s freedom and independence
  17. Two Grand Marches for the Imperial Alexander Regiment.
  18. March of the 2d Regiment of Viennese National Guard for the piano
  19. Favorite March with Trio, of the Regiments Kutschera and Max Joseph for piano-four hands
  20. Rhapsodie Champêtre for the pianoforte
  21. The Departure of the Troubadours. Romance with German and Italian words. Variations by Moscheles, Giuliani, and Mayseder
  22. Music composed for the Sledging Party of the Allied Princes
  23. Drei Mode: Valses for the pianoforte
  24. Twelve German dances with trios and coda for the piano
  25. Six Valses for the pianoforte
  26. Six écossaises for the pianoforte
  27. Six Valses for the pianoforte [different from the above]
  28. Concord (words by T. Probald) for voice and piano / Verständniss Gedicht von C. Probald
  29. Fantasia for the piano on Airs of Neukomm
  30. L’ Elegante, Rondo for the pianoforte

Mentioned by Mark Kroll in Ignaz Moscheles and the Changing World of Musical Europe (Woodbridge, Suffolk: Boydell Press, 2014).

  1. Apollo’s Gift or the Musical Souvenirs Album 2: Toccata for the piano (p.349)
  2. Caroussel Musik am 23ten  und 1ten Dec. 1814 (p.350)
  3. Solution of Kuhlau’s Enigmatic Canon (p.349): in The Harmonicon, 1830, 249.
  4. Handel’s Ouerture und die beliebtesten Chöre aus der grossen Cantate: Timotheus oder Die Gewalt der Musik. For the piano 4 hands. (p.350)
  5. Hommage à Beethoven for three pianofortes (p.352)
  6. Impromptu for Miss Elvira Grange (p.349)
  7. La Carina Rondino in B flat (p.349)
  8. Reberie in Solitude, an air for the pianoforte (p.349): The Harmonicon, 1826, part II, 57.
  9. The Celebrated Parody on Rossini’s ‘Di Tanti Palpiti’, arranged by Moscheles for the piano (p.349)
  10. Topsy-Turveydom / The way of the world. A musical problem (p.349) Listen ♬ The Harmonicon, 1825, part II, 257.
  11. Vingt-une walses [sic] (p.350)
  12. String Quartet in D minor (parts discovered in 1993 at the Chester Music Collection of the University of Glasgow, p.358)
  13. Quartet in D major for piano, flute, clarinet and bassoon (p.358)


  1. Anton Diabellis. Vaterländischer Künstlerverein (Patriotic Artists’ Association) Vol. 1, Variation 26.  Listen ♬
  2. Concertante in F for flute, oboe and orchestra
  3. Concerto for flute, oboe and orchestra Listen ♬ Arranged for flute, oboe and piano  Listen ♬
  4. Pensieri alla Pasta. Fantasia Dramatique per piano. Sopra vary motive de Arie. Eseguite da questa Celebre cantante Listen ♬
  5. Piano Arrangement of Beethoven’s Overture, Fidelio Listen ♬
  6. Fantasia from Verdi’s opera I Lombardi. For the piano
  7. Fantasia on the favorite motives from Verdi’s Nabucodonosor and I Lombardi for the pianoforte
  8. Fantasia on Potem Mitzwo
  9. Fantasia Brillante on Benedict’s Opera The Bride of Venice for the pianoforte
  10. Prelude et fugue
  11. Un conte d’ Enfant for piano four-hands
  12. Andante et Rondeau sur un Thême allemand