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The player is particularly recommended to use his own ingenuity and reflection in expressing the passions, sentiments and general character which he supposes the author to have felt and intended at the time he composed each piece, and which he has hinted at by the characteristic title and by other musical terms found scattered over the composition. With these Studies Moscheles immerses himself unreservedly in the early nineteenth-century Romantic style.
No 1, Wrath , in A minor, is a jagged, agitato combination of a predominantly staccato theme with a demanding semiquaver accompaniment.
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The second, Reconciliation , marked Andante placido, displays a rather Gounod-esque sweetness, but its ingenious hand-crossing and increasingly complex web of filigree decoration belie any initial impression of tameness. Contradiction , a moto perpetuo in D flat, was greeted as a favourite by both Mendelssohn and Schumann for its buoyant energy and refined characterization.
The fourth, Juno , is in some ways the most remarkable of the collection: Its immediate appeal ensured it became the most popular piece of the collection—indeed Moscheles would subsequently be moved to say with wry resignation that no-one would suspect that several of the other studies were equally worthy of concert performance.
In fact it has rare intimacy and charm, its melody gliding gracefully over a persistent inner dotted-note rhythm. Again one may be reminded of Gounod, especially towards the end where the melody appears in octaves below the dotted accompaniment. No 6, Bacchanale , is a Schumannesque chordal tour de force over a bounding octave bass, with contrasting sotto voce passages in unashamedly operatic style.
Affection is an apotheosis of fully Romantic style; marked Andante molto espressivo, its modern-sounding melody on a carpet of demisemiquavers speaks directly to the heart.
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Echoes of yet unwritten music flicker among the sensuously weaving harmonies. Can one really hear snatches of Poulenc? In the Gottschalkian Terpsichore Moscheles gives free rein to the sense of dance that is never far below the surface of his music. A Dream , the longest of the set, is an extended companion-piece to No 9, and an intimate study in soft sonorities and legatissimo touch. Terror Presto agitato is of the twelve perhaps the most demanding and technically advanced, and as in Nos 1 and 4 we hear clear echoes of the Brahmsian style.
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Bach sur la performance: Einen Kontrast dazu bilden mehrere Sotto voce-Passagen, die sich unverhohlen eines recht opernhaften Stils bedienen. Noch ungeschriebene Musik wird in den sinnlich miteinander verwebten Harmonien erahnbar. Die sich wiederholenden Motive nehmen die Tonsprache Hugo Wolfs vorweg.