Seta Tanyel’s first Moszkowski recital (10/95) received a warm response from BM, whose wish for more is fulfilled here. While the first volume gave the impression of a sampler of Moszkowski’s charming pianism, the programme of this second disc offers complete opus numbers, as well as a few longer works. The items presented here span most of Moszkowski’s creative career and the full range of his artistry, from the gentle innocence of his salon music (the Morceaux of Opp. 42 and 73) to the extrovert virtuosity of the Etudes de Concert and the wonderfully pianistic transcription of the final scene from Wagner’s Tristan und Isolde.
As in her first Moszkowski disc, Tanyel’s playing is gracious, affectionate and polished. The technical demands (often considerable) are surmounted with nonchalant ease and a fluency that belies the music’s difficulty. She tends to eschew idiosyncrasy, and her playing does not have the delightful impishness of Stephen Hough (for example, his “Siciliano” from Op. 42 – Virgin Classics, 1/89), but reveals a naturally refined and unassuming stylishness. For me the most impressive piece offered here is the paraphrase of Wagner’s Isoldens Tod, which is in many ways superior to Liszt’s famous transcription, and is among Moszkowski’s finest piano writing. Seta Tanyel’s colourful account is beautifully moulded, giving a sense of inevitability to the ever-intensifying chromaticism, and of climactic culmination to the diatonic release and aftermath, almost achieving the ecstasy of Earl Wild’s memorable performance, a set all lovers of super-virtuosity should investigate. Impeccably recorded, this is recommended with enthusiasm.'