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Emanuel Moór – Composer Profile and Cello Sonata, No. 2 in G Major, Op. 55

September 18, 2020 by Jonathan
Composer, Repertoire

The following post is adapted from the notes of a lecture recital on the life and work of Emanuel Moór which was cancelled due to COVID-19. I am happy to now share with you this research regarding a neglected composer and his life’s work.

Emanuel Moór Self Portrait
Emanuel Moór Self Portrait

Hungarian composer Emanuel Moór (1863-1931) was the son of Jewish cantor Raphael Moór. Found at an early age to have an aptitude for music, the young Emanuel studied piano, organ and composition. His notable teachers included Franz Liszt on piano, Robert Volkman for composition, as well as a few composition lessons with Johannes Brahms. As a boy he performed in both Europe and America to much acclaim. However, today he is remembered mostly as an inventor. Moór invented a new design for both violin and piano. His piano featured two keyboards, similar in concept to the multiple manuals of a pipe organ or harpsichord, yet still with one set of hammers and one set of strings. Steinway produced a single prototype which is now owned by the University of Wisconsin Madison.[1]Although in addition to the Steinway, Bosendorfer produced four, and other manufacturers including Pleyel and Aeolian produced several, Moór’s poor business sense throughout his life and the outbreak of WWII following his death combined to halt production before the instruments could become widely accepted.[2]

Emanuel Moór Keyboard
https://www.nytimes.com/2007/07/15/arts/music/15barr.html

             As a composer, Moór did enjoy much success during his lifetime. His orchestral works were performed across continents by such distinguished ensembles as the Boston Symphony and the Berlin Philharmonic, and his concerti and sonatas were performed by eminent soloists including vioinists Eugène Ysaÿe and Carl Flesch, pianists George Enescu and Alfred Cortot, and cellists Pablo Casals, David Popper, and Alfredo Piatti, among others. Despite these accomplishments, Moór was easily affected by criticism and often reacted to harsh reviews with bouts of depression and compositional inactivity.  

         Though he composed in a late Romantic style, Moór always cast his works within established classical forms with a strong influence of the folk music he often heard during his extensive travels as a child.[3] These folk like qualities include “long, almost improvisatory melodic lines,” and a “looseness of structure and a rhapsodic quality,” which many critics denounced as flaws in his compositions.[4]As an example, when Russian cellist Anatoly Brandukov introduced Emanuel Moór to Pablo Casals in 1905, he characterized Moór as an “amateur composer.” In Casals’s biography, Joys and Sorrows, Casals disagrees with Brandukov’s assessment. Recounting his first hearing of Moór’s music, Casals says “His music was overwhelming….and the more he played, the more convinced I became that he was a composer of the highest order. When he stopped, I said simply, ‘You are a genius.’”[5] Although it is uncertain whether Moór introduced Casals to the Op. 55 sonata at this meeting, the Cello Sonata No. 2 in G Major, Op. 55 was one of the first, if not the first, of Moór’s works that Casals added to his repertoire. Casals gave four performances of the sonata in December of 1905 alone following his initial meeting with the composer earlier in the year. These performances are noted both in Max Pirani’s biography of Moór and in H. L. Kirk’s biography of Casals. Casals’s first noted performance of this sonata came during a Russian tour (pianist not noted) followed by two performances with Marie Panthès in Geneva and Lausanne and one performance in Paris with Alfred Cortot at the piano.[6] Casals also championed other of Moór’s works, performing multiple sonatas, a concerto that Moór dedicated to him, a double cello concerto, and a triple concerto for piano trio with orchestra.    

    Moór’s works have no drastic change in style periods throughout his career as do some composers, so the Op. 55 sonata can be said to be representative of his output in general. As we will see later, several of his style traits stemming from his early training and experiences are evident in this sonata.

    Even before Casals performed the work, the Op. 55 sonata bears an interesting history. In 1905 when Casals met Moór, the composer indicated that he had already ceased composing for a decade. However, the first publication of the sonata, which bears a dedication to M. er Mme. Brandoukoff, the cellist who introduced Moór and Casals, dates from 1902 or 1903, depending on the source, just two or three years prior to their meeting. Whether the sonata, Moór’s second of four cello sonatas, was finished at an earlier date and published later or composed in 1902 is unknown. Of note, Moór’s 1959 biography by Max Pirani lacks the dedication in the listing of compositions and does not record any instances of Brandukov’s performing the work. 

Since the turn of the 21st century, the sonata has enjoyed increased popularity, including two commercial recordings. The world premiere recording came in 2005 by Hungarian cellist Péter Szabó and pianist Zsuzsa Kollár on the Hungaroton label, and a second recording was published in 2007 with cellist Gregor Horsch and pianist Carole Pressland on the Cello Classics label. These recordings preceded a further revival of interest in Moór’s music in 2013, coinciding with the 150th anniversary of the composer’s birth.

By way of formal analysis, the first two movements are the mostclear to analyze while the third and fourth movements, though still in classical forms, are less strict in their formal structures and exhibit more of the rhapsodic quality mentioned before. The primary tonal centers of the four movements outline a C minor triad, G-C-E♭-G respectively. All four of the movements make use of pedal tones, perhaps a sign of the composer’s early training as an organist. 

                     Movement I. Allegro moderato

Emanuel Moór Cello Sonata Movement 1
Movement I, Opening

The first movement, Allegro moderato in G major, is cast in sonata form. The first theme of the exposition remains open without a single authentic cadence in the tonal center of G major. The movement opens with a single four measure homophonic piano phrase which leads to a six measure parallel phrase with cello, both phrases ending in half cadences. Moór’s genius as a composer is seen in his beautifully simple melodies even more than in his developmental procedures. Following two half cadences in G major, the first authentic cadence comes in C major. This cadence is weak, being an imperfect cadence, a passing tone D# in the soprano resolving to an E, the third of the chord. In addition, the resolution is to a major seven chord, the seventh of which descends a half step to make it a dominant seventh quality. This D# to E motion proves to be a recurring motive through the exposition, appearing twice at crucial points during the exposition. The first D# in measure 13 represents the first cadence outside of G major. The final cadence of the theme is a half cadence in the tonic, G major. Following this, the G major harmony which we would expect is altered instead to a G augmented chord with the D# now functioning as the leading tone to E minor, the key of the transitional passage preceding the second theme. The movement as a whole features frequent modal borrowing and unexpected modulations to distant keys, often facilitated by chromatic bass movement. The movement is unified through transitional passages that feature walking bass lines through tonally wandering sections.

Movement I, Measures 13-14

 

Movement I, End of First Theme

The second theme transitions to the third theme with unison piano and cello in octaves. Moór uses a B♭7 chord built on the flat 2 scale degree of the 2nd theme in A minor as the V7 of E♭, the beginning key of the third theme. The third theme is the first of many uses of pedal tone in the sonata. The free development section showcases the freedom which Moór’s detractors criticized. 

 Movement II. Scherzo


 
Emanuel Moór Cello Sonata Movement 2
Movement II, A Theme
Movement II, B Theme
Movement II, C Theme

            The second movement, a Scherzo in C minor, is the most formally and tonally stable movement of the four. In 7 part rondo form, this 3/8 movement features syncopated refrain full of hemiola figures and humorous chromatic trills. Unlike the first movement, the Scherzo features more consistent phrase lengths, even if asymmetrical. The first two phrases are nine bar phrases elided with the beginning of the following phrase. The piano and cello alternate melodic roles in these phrases. The third nine-bar phrase again elides with following phrase, but this time modulates to the chromatic mediant key of E♭ minor, foreshadowing the tonality of third movement. The first episode features asymmetrical phrase lengths of five-bar phrases. Modal borrowing is prevalent in the refrain sections as they wander between C major/minor and E♭major/minor.

Movement III. Adagio

            The third movement, Adagio in E♭minor, lacks the tonal stability and formal clarity of the second movement. Because the themes of the movement shares similar motives, discerning where one theme ends and another begins can be challenging. The most promising way of understanding the movement’s form is as a 5 part rondo. Viewing the local and background level bass lines can shed light on the identity of the themes in this movement. The initial three-note descent in the piano, namely E♭-C#-B, is seen at a more background level as the key centers of the refrain and following episode and transition. This movement clearly begins in E♭minor despite chromaticism and enharmonic spellings. The fact that the first modulation in measure 35 is to C# minor gives likelihood that Moór had this larger tonal plan in mind. Admittedly, the B in the third chord of the piano is not in the bass, weakening the supposition. However the next modulation for the transition between the refrain and the second episode is to B minor. The transition is preceded by the same three note descent of E♭-enharmonically spelled D♭-B, this time in the bass. This transition features a repeated three note ascending motive derived from the refrain. The third movement is the most vocal in nature of the sonata movements. The sonata also spends time in C minor, hearkening back to the key of the Scherzo.

 

Emanuel Moór Cello Sonata Movement 3
Movement III, Initial Descent
Movement III, First Modulation away from E♭

 
Movement III, Second Modulation away from E♭

     Movement IV. Finale

            The Finale, marked Allegro con brio and again in G major, is in a loosely organized Sonata Rondo form. In this major key movement, after a short piano introduction, the second of the two phrases of the principal theme repeats the first phrase but modulates to the parallel minor. Both the refrain and every episode are developed, again showing the rhapsodic side of Moór’s compositions. Walking bass lines in this movement are used to accomplish modulations to distant keys. This movement also makes the most extended use of pedal tones, with no fewer than eight over the course of the movement. A three note ascending motive from the refrain is repeated in the episodes and the transitional material. The sonata does not feature any cyclic themes returning between movements.

            This sonata is a worthy addition to the slim cello repertoire. Although its loose organization can make it difficult to analyze formally at times, the work finds its strength in the memorable melodies it presents and in the vocal rhapsodic quality it exhibits while remaining within classical formal models. Perhaps the formal criticism that would best apply is not that this composition is so rhapsodic as to be devoid of form, as some of his detractors argued, but rather that the final three movements of this particular sonata are so similar in form, being a 7 part rondo, a 5 part rondo, and a sonata rondo respectively. The work also has pedagogical value in that it is not overly challenging yet introduces upper register of the cello. Each movement features interplay between the instruments and develops critical listening skills. Emanuel Moór’s Cello Sonata No. 2 in G Major is gaining a well-deserved place in the repertoire from the pen of a forgotten composer.

 

Bibliography

Barron, James. “Let’s Play Two: Singular Piano.” The New York Times. July 15, 2007. https://www.nytimes.com/2007/07/15/arts/music/15barr.html.

Boston Symphony Orchestra concert program, Subscription Series, Season 27 (1907-1908), Week 22, Boston Symphony Orchestra Program Books, Boston Symphony Orchestra Archives, Symphony Hall, Boston, MA. Accessed on December 27, 2019 at https://cdm15982.contentdm.oclc.org/digital/collection/PROG/id/96502

Casals, Pablo, and Albert E. Kahn. Joys and Sorrows: Reflections by Pablo Casals. New York, Simon and Schuster, 1970. 

Corredor, J. Ma. Coversations with Casals. New York, E.P. Dutton & Co., Inc., 1957.

Gersing, Dorothea. Emanuel Moór: Eine Einführung in Leben und Werk des Pianisten, Komposisten und Erfinders. Kester-Haeusler-Stiftung, 2005.

Kirk, H L. Pablo Casals. New York, Holt, Rinehart and Winston, 1974.

Le Temps Archives. Le Temps. www.letempsarchives.ch/recherche?q=emanuel+moor+55. Accessed January 20, 2020.

Library of Congress. “Moór, Emanuel, 1863-1931.” Library of Congress. United States Copyright Office. 30 July 2013. id.loc.gov/authorities/names/n87822142.html. Accessed 22 Dec. 2019.

Meszto, Richard. “A Forgotten Composer in England: Richard Meszto Writes About Hungarian-born Emanuel Moór.” Classical Music Daily, edited by Basil Ramsey and Keith Bramich. Classical Music Daily. Mar. 2019, www.classicalmusicdaily.com/2019/03/moor.htm. Accessed 23 Dec. 2019.

“Moór [mohr] Emanuel.” Baker’s biographical dictionary of musicians. 3rd ed., 1919, p. 621. HathiTrust Digital Library, babel.hathitrust.org/cgi/pt?id=hvd.32044040982001&view=1up&seq=647. Accessed 19 Jan. 2020. 

Oron, Aryeh. “Emanuel Moór (Composer, Arranger).” Bach Cantatas Website, edited by Aryeh Oron, Bach Cantatas Website, July 2007, www.bach-cantatas.com/Lib/Moor-Emanuel.htm. Accessed 19 Jan. 2020. 

Pirani, Max. Emanuel Moór. First ed., London, P. R. Macmillan Limited, 1959. 

Ring, Rita, et al. Henrik und Emanuel Moor Stiftung, edited by Rita Ring, Nikolaus Turner, Hermann Nehlsen, and Klaus Wollenberg, Henrik und Emanuel Moor Stiftung, Mar. 2014, emanuel-und-henrik-moor-stiftung.de/. Accessed 19 Jan. 2020. 

Shead, Herbert A. The History of the Emanuel Moór Double Keyboard Piano. Old Woking, Unwin Brothers Limited, 1978.

Waters, Edward N. “Reviewed Work: Emanuel Moór by Max Pirani.” Notes, vol. 17, no. 2, Mar. 1960. p. 243. JSTOR, doi:10.2307/893233. Accessed 23 Dec. 2019.

Worldcat Identities. “Moór, Emanuel 1863-1931.” Worldcat, edited by OCLC, OCLC, Inc, www.worldcat.org/identities/lccn-n87822142/. Accessed 19 Jan. 2020.


[1]James Barron, “Let’s Play Two: Singular Piano,” The New York Times, July 15, 2007, https://www.nytimes.com/2007/07/15/arts/music/15barr.html.

[2]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 160.

[3]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 20.

[4]Max Pirani, Emanuel Moór (London: P. R. Macmillan Limited, 1959), 29.

[5] Pablo Casals, and Albert E. Kahn, Joys and Sorrows: Reflections by Pablo Casals (New York: Simon and Schuster, 1970), 138.

[6] H L Kirk, Pablo Casals (New York: Holt, Rinehart and Winston, 1974), 208.

©2020 by Jonathan Simmons. All rights reserved.

A Guide to the Cello/Organ Repertoire

September 4, 2020 by Jonathan
Organ, Repertoire

         Jonathan Simmons Cello Life Blog - A Guide to the Cello/Organ Repertoire

            As a cellist, great chamber music partners are one of the many joys of life – strings, winds, and piano pair beautifully with the cello in many delightful combinations. However, one of the less often heard combinations is the cello/organ duo. As infrequently as these two instruments are heard as an ensemble, the duo boasts a surprisingly wide variety of compositions written for them. So often the organ is showcased as a solo instrument or relegated to an accompanimental role behind the choir that giving the king of instruments and equal footing with another instrument in a chamber music setting is a refreshing change of pace. In programming recitals, my search for repertoire proved that a comprehensive collection of repertoire for this duo has not yet been compiled. Here I hope to create this long overdue listing and share the gems of the repertoire, many of which I have already had the joy of performing in recital myself. Suggestions on where to purchase the sheet music for each piece will also be provided as well as a sample of the professional recordings available (or the lack of recordings when none exists). Many parts come as a piano score from which the organist will need to adapt. Although it is possible to transcribe works originally written for different instruments yourself, special emphasis is given here to those pieces originally written for cello and organ with a select few transcriptions. Many of the wonderful transcriptions have been omitted for sake of space.

 Baroque

             In the Baroque era, nearly any sonata with basso continuo will transcribe nicely to a smaller organ or a portative. Two that work especially well are Antonio Vivaldi’s Cello Sonata in E Minor, RV 40, and Benedetto Marcello’s Cello Sonata No. 4 in G Minor. Both of these works are available on IMSLP, but if you prefer to purchase a physical copy and would like to give the organist a chance to realize the figured bass for themselves, facsimiles of the Vivaldi VI Sonates: Violoncello Solo col Basso can be purchased from Broude Brothers as well as many editions with realized bass including the Bärenreiter Urtext. The Vivaldi is a favorite standard in the cello repertoire, and many cellists will know it because of its inclusion in the Suzuki method books. The Marcello is not as well known to cellists, but it is nevertheless a wonderful sonata. The instruments exchange primary roles and echo and imitate each other making for good interplay. Physical copies of the parts are available from Edition Peters.

            Transcriptions of Baroque violin sonata and individual movements of Baroque sonatas also work well for cello and organ. For example, J. S. Bach’s Sonata for Viola da gamba in G Major, BWV 1027 lends itself perfectly to this instrumentation and can be purchased from G. Henle Verlag. The haunting Largo from Francesco Maria Veracini’s Violin Sonata in D Minor also fits wonderfully on cello and organ. International Music Company offers the sheet music for both this movement alone as well as the complete sonata edited by Janos Starker. In addition to purely baroque music, another single movement Toccata once attributed to Girolamo Frescobaldi was later determined to be written by 20th century cellist-composer Gaspar Cassado, the work’s major proponent. One of the first Youtube search results yields a performance by none other than Mstislav Rostroprovich & Herbert Tachezi in a lighthearted performance of the work. A whole recording with these two performing this and several artful arrangements is offered by Teldec under the title Cello & Organ. The short and sprightly character of the work makes it fitting as an opener of a recital program. The parts are available from Universal Editions.

Jonathan Simmons Cello Life Blog - A Guide to the Cello/Organ Repertoire Romantic

            Although the Classical era is sadly lacking in compositions for the cello/organ ensemble, the Romantic era more than makes up for the lack with an abundance of suitable repertoire. A set of works by Jewish Romantic composers has been compiled by Bärenreiter in a collection entitled Jewish Prayer. Perhaps the work best suited to these instruments is the familiar prayer Kol Nidrei by Max Bruch. To my ears, the organ admirably emulates the full orchestral score from the solo notes opening the piece to the harp solo and contrasting brass tuttis. Incidentally this piece will likely take the most effort to set fitting stops, but the end result will prove to be worth the effort. Other composers represented in the Jewish Prayer collection are Albert Kellermann, Friedrich Gernsheim, Joseph Sulzer, and Fernand Halphen. Among these, Halphen’s angelic Prière stands out as the most serene. Audiences often hold their applause for what seems to be an eternity after the final note, reluctant to break the tranquil silence.

            Another work likewise entitled Prière by Camille Saint-Saëns contrasts with the Halphen in that it is longer and more varied in its emotional nuance so that it would not be redundant to program them together on a program or even back to back. In addition to Rostroprovich & Tachezi recording the Saint-Saëns Prière on the Cello & Organ recording mentioned previously, Steven Isserlis and Francis Grier have also professionally recorded the work. Parts are in the public domain and can be printed for free from many sites such as IMSLP as well as a cleaner edition through Stretta Music. In the vein of French composers, see also Gabriel Fauré’s single movement Andante. Although often heard with piano as the later version entitled Romance, the original version was written for cello and organ. You can hear Steven Isserlis perform this work with Francis Grier on the recording Fauré – Complete Cello Works on the RCA label. Sheet music is again available through IMSLP and in an Editions Peters collection entitled Fauré: Complete Shorter Works for Cello.

 Works by 20th Century and Organist Composers

            Lacking thus far has been organist composers in this list of works. However, that will be rectified in the next few works. First Marcel Dupré’s Sonata in A Minor for Cello and Organ, Op. 60. This three movement sonata was originally written for cello and organ so there is no need to do any arranging. One note regarding this piece is that it lacks a slow movement, all the tempos being in the Allegro category. This is perhaps the most often professionally recorded work for the duo with at least four commercially available recordings. Sheet music is available from Alfred Publishing Co.

            If the Dupré sonata is the most recorded, the Oskar Wermann Sonata for Cello and Organ, Op. 58 is the least recorded with no professional recording of which I am aware. This three movement work does include a slow movement in the middle. To my knowledge, the music is out of print but is still available on IMSLP. Although not composed by a professional organist, a third sonata for the two instruments by 20th century composer Günter Raphael also deserves mention. I hesitate to bring up this work as performable because the music is out of print, but if you are willing to put the effort into finding the music, you will find it worth your while. Donald Moline and Randall Swanson have recorded the work on a recording collection entitled The Last Song of Summer, the title coming from a movement of a larger work described later. In contrast the Wermann, this sonata consists of two Largo movement surrounding a middle Vivace molto movement, so consider that it may not be effective as the final piece of a recital program. In addition to the sonatas, a single-movement work by an organist composer to be considered is Joseph Jongen’s Humoresque. Music is available both on IMSLP and through Castejon Music Editions. 

Jonathan Simmons Cello Life Blog - A Guide to the Cello/Organ Repertoire

 Contemporary Works

            Thankfully composers have continued to write for cello and organ to the present day. One such composer is Peter Mathews. His Four Seasons for Cello and Organ is fittingly varied and challenging. Though the four movement work as a whole tends toward flowing melodic lines and a very audience-accessible style, the dissonant Winter Lament movement contrasts with the rest of the piece such that it is, in the composer’s own words, “in a category all of its own in my writing.” MorningStar Publishers publish the music for the Matthews. Another work by a contemporary composer is Musique du Soir by Latvian composer Pēteris Vasks. This work perhaps out of all the afore-mentioned works allows this organ its moment of glory. When playing chamber music, it is my experience that the organist complains of feeling stifled because of the need to play soft enough to let the cello be heard. That need not be a concern in this piece because the composer gives the organ a grandiose solo in which there need be no concern of drowning out the cello which is resting. A mother-daughter duo of Sol Gabetta on cello and Irène Timacheff-Gabetta on organ can be heard performing this work on a recording of Vasks’s music entitled Presence. Alphonse Leduc publishes the music in France.      

            Many works suitable for the cello organ duo have been purposefully left off this list, for example works with electronics, modern works with extended techniques like Sofia Gubaidulina’s In Croce, arrangements of pieces such as the Albinoni Adagio and Respighi Adagio con variazioni, as well as chamber music with additional instruments. For sources of these and other works, see recordings by established performers such as the Syvati Duo which can be found here at this link. Also view the Wikipedia article on the subject. I’ve added some of the entries myself.

        I hope this list is a help to you as you explore the world of chamber music in organ and cello. If you are familiar with additional works written for the ensemble that you feel should be added to this list, please list them in the comments below!

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