There is an old saying, “The best things in life are worth waiting for,” and for South Florida audiences, the wait is finally over to witness the incredible artistry of Joseph Moog, who’s flawless virtuosic technique and an individual approach to programming have singled him out as one of the most exciting young pianists today.


Sidelined at the last minute from participating in last year’s Festival, Joseph Moog knows instinctively that making music is a life, not a career. In the last year alone, his busy performance schedule has taken him to Vienna, Antwerp, Milan, Copenhagen and extensively throughout his native, Germany. His programming choices for the long awaited Florida debut are quite impressive.

Early in his career, Haydn composed the D major Sonata in 1773 for the harpsichord. The first movement exhibits a characteristically Haydnesque ebullience and affability, while the second is one of the more wholeheartedly romantic of the composer’s middle movements.


The program progresses chronologically to in 1782 and the Mozart Fantasy in D minor which remained unfinished at the composer’s death. The piece is one of his more popular compositions for the piano because of its somewhat unusual rhythm, its constantly changing tempo (seven different tempi occur throughout the piece, some of which are quite fast, including the three meter-less cadenzas), and its apparent lack of any recognizable musical form – hence the “Fantasy” title!

Fast forward to the mid-1800’s and we find Wagner living in a room at the Prussian Embassy and developing a fondness for two black swans that were kept in the garden. “Arrival of the Black Swans” was originally written for solo piano in 1861 and first published in 1897.


Written in Wagner’s romantic style, a somber opening is followed by a moving middle section, reminiscent of passages from Lohengrin. Also included in Moog’s nod to Wagner are Moszkowski’s piano arrangement from the Opera Tristan &Isolde and the Ride of the Valkyries as arranged by Tausig who truly knows how to turn the piano into an orchestra.

Moog will show his softer side in Debussy’s Trois images oubliees from 1894. He also includes Liszt’s transcriptions of Verdi’s operatic works, Rigoletto, Misere from Il Trovatore and Ernani. Liszt’s transcriptions yielded results that were often more inventive than what Liszt or the original composer could have achieved alone and these are among his most noted.


The music will be in the hands of a great interpreter who after receiving special recognition was said to “play with perfect technique, possess an outstanding ability to play expressively and a very keen musical intelligence. In spite of his young age, Joseph Moog is a complex-thinking, reflective, artistic personality with an enormous stage presence. . . The connections he perceives within the music and his desire and remarkable ability to communicate them to his audience are not only unique, but also very worthy of recognition. We will be hearing a lot more from Joseph Moog in the future.”

Rounding out the program will be a multimedia presentation by Festival “Lecturer in Residence” Professor Frank Cooper.


The Ticket Price is $15