Albert Jean Moeschinger was born the son of a merchant in Basel and grew up under difficult circumstances. In 1901, one year after the birth of his sister Emma Olara, his mother left the young family. The four-year old boy was, for the time being, left to the charge of his grandmother and later spent a year with his aunt in Geneva.
From the age of six onwards he received piano lessons from Josef Herold, a member of the Basel Symphony Orchestra; his student was talented and extremely interested. In 1904 his father married for the second time; the family moved to Basel's old town. Stepson and stepmother however, did not see eye to eye; subsequent to the cancellation of his piano lessons the eleven-year old practiced alone. Following his obligatory schooling he lived in the French-speaking part of Switzerland for one year in order to learn the French language; the attendance of the college was in his father's eyes totally unnecessary. He received multifarious encouragement from his French language teacher's, who were also good musicians. His first compositions were penned, he read profusely and made his first literary attempts.
In the Spring of 1914, at the behest of his father, Moeschinger was forced to enter into a bank clerk apprenticeship and, as inexpertly as he was there employed, his father insisted he remain. It was not until three years later, following the verification of his musical talents by Hermann Suter and, not least with thanks to the prospect of becoming répétiteur at the Berne City Theatre, was he allowed to leave the bank. In Berne Moeschinger studied piano under the tutelage of Oskar Ziegler and composition under Ernst Graf. In addition he searched for students in order to find a means of sustenance.
In 1920 he received, from the Winterthurian patron Werner Reinhart, a stipend for a three-year study abroad. Moeschinger chose Leipzig as his first port of study, where, due to the presentation of his compositions, he was immediately accepted into the master class of Paul Graener. However, he never presented the works that followed to his teacher; he learnt not at the school but in concert. With notebook in hand he hunted down rehearsals and performances and travelled, not uncommonly, to Berlin in his aim. Moeschinger spent the third year of his study abroad in Munich as a student of Walter Courvoisier, he also left this training post without a diploma.
Back in Switzerland Moeschinger earnt his money as a coffee-house musician in the Bernese Oberland, in Basel and in Berne. A short time later he was no longer satisfied with being a "musical servant" and endeavoured to teach students and concentrate on his position as a teacher at the conservatory in Berne. In 1929 he became recognised through a concert of his own work; a string quartet, a string trio and lieder, as a result his colleagues, for example Willy Burkhard with whom he conversed intensively about composition, ensured that he received an increased number of students. It was not until 1937 that he was engaged at the conservatory. He took his teaching activities extremely seriously, proof of which lies, for example, in the very extensive morphology he wrote for his students.
Moeschinger went to Saas Fee to recuperate following a very serious operation in 1942, it was his intention, already in the Spring of 1943, to begin teaching again at the conservatory after the summer holidays but come September he had still not recovered sufficiently and remained in Wallis. From now on he will and can earn his living through commissions for compositions. He lived in splendid isolation (as he ironically put it) in a small room containing a piano at the 'Hotel Du Glacier' where he missed the musical environment, concerts and societies. Often, mostly in summer, he received visits from friends and ventured on prolonged mountain tours; then he was once again alone. It was exactly this loneliness and peace of the mountainous environment that drove him to compose.
In addition Moeschinger read copiously, most particularly contemporary French authors. He also studied countless scores, not only for his own benefit but also as the corrector of the director Paul Sacher, who trusted the fabulous 'inner ear' of Moeschinger. Sacher himself repeatedly commissioned compositions. Moeschinger also kept an extensive correspondence with musicians, friends and family.
Again and again Moeschinger travelled to the world premieres of his orchestral works. In chamber musical programmes he often performed the piano part himself, an example being at the Tonkünstlerfest 1951 in Sion, where Moeschinger and Peter Mieg assisted each other in turning the pages of the score.
During this time he had an ubiquitous wish to write an opera. Following the completion of his cantata on the "Märchen von der kleinen Seejungfrau", Moeschinger searched intensively for a suitable libretto; this search however, remained unsuccessful as none of the texts found his approval.
The feeling of isolation and even displacement in rural Saas Fee became more intense. In 1953 he was awarded the art prize by his home city of Basel, this brought him much satisfaction and relief from financial difficulties. He accepted tenancy of a small and affordable apartment in St.Alban-Vorstadt in Basel but he was neither accustomed nor willing to manage his own household. In the hotel he had been sheltered from these practicalities and when his friends invited him for a long stay he was pampered and indulged as a fascinating interlocutor, even though he was a very demanding guest.
Moeschinger undertook another operation in the winter of 1955 and recovered very slowly. Vladimir Vogel recommended that he stay at the Hotel "Tamaro" in Ascona where, for the second time, a period of recuperation opened a new chapter in his life. Ascona offered him a stimulating environment with an agreeable climate and surroundings. Henceforth Moe, as he was known by his friends (not always to his amusement), ventured on many short trips to the Italian bathing resorts where he hoped to find both relief from his arthritic pains and inspiration from the landscape. He visited Torre del Lago where the birth-house of his admired Puccini was located. In 1957 Moeschinger received the compositions prize offered by the Swiss Association of Musicians.
The year 1968 brought an unexpected number of concerts, which the composer put down to the occasion of his 70th birthday the previous year. He still traveled often to performances despite his increasing blindness caused by cataracts and note-writing. Because of the closure of the "Tamaro" during the winter season it was necessary for Moeschinger to find a place to spend the Autumn of his life, this led in the following years to numerous changes of address but with no permanent result. His eye operation in Berne in 1978 was also a disappointment, the expected amelioration did not occur and, furthermore, his hearing also suffered as a result of the anaesthetic. Following a short stay in a nursing home the daughters of the painter Alfred Glaus, a friend of the family, gave him lodgings in Thun. He was awarded the music prize offered by the canton of Berne. His final musical thoughts he wrote on custom made paper.
Helene Ringgenberg
Work list
Concert grotesque g-moll ("op. 8") (1911)
Instrumentation: for piano
Duration: 5' 00"
Universitäts-Bibliothek Basel
Basel
Mazeppas Todesritt (1912)
Ballad C sharp major (work 6)
Instrumentation: for violin and piano
Duration: 5' 00"
Universitäts-Bibliothek Basel
Basel
Konzert (concert) (1915)
Instrumentation: for violin with piano accompaniment
Universitäts-Bibliothek Basel
Basel
Ihr (1915)
Instrumentation: for high voice and piano
Duration: 2' 00"
Universitäts-Bibliothek Basel
Basel
Die Hauptsache (1916)
Instrumentation: for soprano and piano
Texts: Bierbaum
Duration: 3' 00"
Universitäts-Bibliothek Basel
Basel
Volkslied (1917)
Instrumentation: for alto and piano
Duration: 1' 00"
Universitäts-Bibliothek Basel
Basel
Klaviersonate f-moll (piano sonata in F minor) (1918)
Duration: 20' 00"
Universitäts-Bibliothek Basel
Basel
Der Nachtwind hat in den Bäumen (1919)
Instrumentation: for high female voice and piano
Texts: Nikolaus Lenau
Duration: 3' 00"
Universitäts-Bibliothek Basel
Basel
Passacaglia, op. 1 (1920)
Instrumentation: for organ
Duration: 7' 00" Manuscript
Humoreske (1920)
Instrumentation: for piano
Duration: 3' 00"
Universitäts-Bibliothek Basel
Basel
Farewell Blues (1920)
Instrumentation: for piano
Duration: 4' 00"
Universitäts-Bibliothek Basel
Basel
Quartett für Streichinstrumente, op. 5 (quartet for string instruments, op. 5) (1921)
Instrumentation: for violin and string orchestra (str, timp, small dm)
Duration: 20' 00"
Universitäts-Bibliothek Basel
Basel
Bundeslied (1936)
Instrumentation: for male choir and piano
Texts: Johann Wolfgang Goethe
Duration: 4' 00"
Universitäts-Bibliothek Basel
Basel
"Ein froh Schweizerweis" (Landeslied) (1936)
Instrumentation: for mixed choir or male choir
Texts: Urs Martin Strub
Duration: 2' 00"
Hug & Co. Musikverlage
Limmatquai 28-30 CH-8001 Zürich
"Ein froh Schweizerweis" (national anthem) (1936)
Instrumentation: for voice and piano
Texts: Urs Martin Strub
Duration: 2' 00"
Universitäts-Bibliothek Basel
Basel
Das alte Tellenlied ("Vom Ursprung der Eidgnoschaft") (1936)
Instrumentation: for baritone and male choir
Duration: 10' 00"
Universitäts-Bibliothek Basel
Basel
Wanderlied (1936)
Instrumentation: for voice and piano
Texts: Johann Wolfgang Goethe
Duration: 3' 00"
Universitäts-Bibliothek Basel
Basel
Das Lügenmärchen (1936)
Folksong
Instrumentation: for male or female choir
Duration: 4' 00"
Universitäts-Bibliothek Basel
Basel
Ik weet en Frauken (1936)
Instrumentation: for medium voice and piano
Duration: 1' 00"
Universitäts-Bibliothek Basel
Basel
Vermahnlied an die Eidgenossenschaft (1936)
Instrumentation: for mixed choir or male choir
Duration: 3' 00"
Hug & Co. Musikverlage
Limmatquai 28-30 CH-8001 Zürich
Fips (1936)
Instrumentation: for voice and piano
Texts: Christian Morgenstern
A couplet from mother Käthy to sing to little fritz.
Duration: 2' 00"
Universitäts-Bibliothek Basel
Basel
Die drei Spatzen (1936)
Children's song
Instrumentation: for medium voice and piano
Texts: Christian Morgenstern
Duration: 2' 00"
Universitäts-Bibliothek Basel
Basel
Trauermusik für Hanny Bürgi (1936)
Instrumentation: for string quartet
Duration: 10' 00"
Universitäts-Bibliothek Basel
Basel
Von dem grossen Elefanten (1936)
Instrumentation: for voice and piano
Texts: Christian Morgenstern
Duration: 2' 00"
Universitäts-Bibliothek Basel
Basel
A la plage (1936)
Instrumentation: for mixed choir
Duration: 4' 00"
Universitäts-Bibliothek Basel
Basel
Das ist mein Leib (Abendmahl) (1936)
Instrumentation: for mixed choir
Texts: Johann Wolfgang Goethe
Duration: 3' 00"
Universitäts-Bibliothek Basel
Basel
Suite für Orgel, op. 44 (1938)
1. Vorspiel. Allegro
2. Fuga mystica in c-moll. Adagio
3. Hymnus und Variation C-Dur "Dem Andenken Adolf Hamms". Bewegt
4. Nachspiel
Compilation of single parts from the years 1933 (fuga) until 1938 (hymnus).
Duration: 19' 00" Manuscript
Konzert No III, op. 42 (concert N° III, op. 42) (1938)
Instrumentation: for mezzo-soprano, 2 flutes, oboe, 2 clarinets, percussion, harp and double bass
Poetry and prose for children extracted from the "Editions Guilde du livre" and the "Editions Clairefontaine": Etienne Chevalley "Miracles de l'enfance" and "Poètes d'aujourd'hui".
Duration: 18' 00"
Universitäts-Bibliothek Basel
Basel
Labyrinth, op. 94 (1961)
Instrumentation: for orchestra (2.2.2.2/2.0.0.0/timp.perc/hp/str) and three female voices (SMezA)
Texts: Dante Aligieri
Duration: 10' 00"
Universitäts-Bibliothek Basel
Basel
Sonatina da camera (1961)
Instrumentation: for violin and piano
Duration: 10' 00"
Universitäts-Bibliothek Basel
Basel
So gelb wie möglich (1962)
Instrumentation: for harpsichord
Duration: 2' 00"
Paul Sacher Stiftung
Auf Burg, Münsterplatz 4 CH-4051 Basel Schweiz
Conversazioni, op. 93 (1963)
Instrumentation: for flute, clarinet, harp, violin and violoncello
Moeschinger, Albert: Sinfonie Nr. 2, in: Alte und Neue Musik. 25 Jahre Basler Kammerorchester, Zürich 1952, S. 174-175
Moeschinger, Albert: Ich wurde in Basel geboren, in: Musik der Zeit 10 (1955), S. 15
Moeschinger, Albert: Sarcasmes, in: Alte und Neue Musik. 50 Jahre Basler Kammerorchester, Zürich 1977, S. 275-276
Moeschinger, Albert: Consort for Strings, in: Alte und Neue Musik. 50 Jahre Basler Kammerorchester, Zürich 1977, S. 275-276
Moeschinger, Albert: Concerto lyrique für Saxophon und Orchester, in: Alte und Neue Musik. 50 Jahre Basler Kammerorchester, Zürich 1977, S. 275
Moeschinger, Albert: Trompetenkonzert, in: Alte und Neue Musik. 50 Jahre Basler Kammerorchester, Zürich 1977, S. 273-274
Moeschinger, Albert: Variations mystérieuses, in: Alte und Neue Musik. 60 Jahre Basler Kammerorchester, Zürich 1988, S. 110
Falkner, Felix: Albert Moeschinger. Werkverzeichnis, SUISA, Zürich 1996
Oesch, Hans: Artikel "Albert Moeschinger", in: Komponisten der Gegenwart, München 1992
Lück, Hartmut: Basler Panne. Portraitschallplatte Albert Moeschinger, in: MusikTexte 15 (1986), S. 61
Kelterborn, Rudolf: Zum Tod von Albert Moeschinger, in: Dissonanz 6 (1985), S. 17-18
Oesch, Hans: Laudatio anlässlich der Verleihung des Kantonalen Musikpreises Bern 1981 an Albert Moeschinger, in: Schweizerische Musikzeitung 122 (1982), S. 25-27
Favre, Max: Kein Verlust der Mitte. Verleihung des kantonalen Musikpreises 1981 an Albert Moeschinger, in: Der Bund (9.12.1981) (1981)
Oesch, Hans: Artikel "Moeschinger, Albert", in: The New Grove Dictionary of Music and Musicians (Bd. 12), London 1980, S. 458
Der Briefwechsel Albert Moeschinger - Ernest Ansermet, in: Schweizerische Musikzeitung 119 (1979)
Favre, Max: Eine markante Musikerpersönlichkeit. Zum 80. Geburtstag von Albert Moeschinger, in: Der Bund (8.1.1977) (1977)
Mieg, Peter: Albert Moeschinger zum 80. Geburtstag, in: Badener Tagblatt (8.1.1977) (1977)
Ringger, Rolf Urs: Albert Moeschinger zum Achtzigsten, in: Neue Zürcher Zeitung (10.1.1977) (1977)
Briner, Andres: Strömungen in der Schweizer Musik zwischen 1950 und 1973, in: Tendenzen und Verwirklichungen (1975), S. 205-245
Oesch, Hans: Albert Moeschingers Briefwechsel mit Thomas Mann, in: Schweizerische Musikzeitung 112 (1972), S. 3-11
Mieg, Peter: Albert Moeschinger zur Erinnerung, in: Komponisten des 20. Jahrhunderts in der Paul Sacher Stiftung, Basel 1968, S. 209-212
Huber, Eugen: Albert Moeschinger zum 70. Geburtstag, in: Der Bund (10.1.1967) (1967)
Kelterborn, Rudolf: Albert Moeschinger zu seinem siebzigsten Geburtstag, in: Neue Zürcher Zeitung (10.1.1967) (1967)
Oesch, Hans: Was hat uns Albert Moeschinger zu sagen? Zum 70. Geburtstag des Komponisten, in: Schweizerische Musikzeitung 107 (1967), S. 2-8
Oesch, Hans: Albert Moeschinger zum Siebzigsten. Der Geschichte verpflichteter Erfinder neuer Musik, in: National-Zeitung (9.1.1967) (1967)
Oesch, Hans: A propos "Petite danse macabre", in: Schweizerische Musikzeitung 107 (1967), S. 158-159
Vosseler, Paul: Zum 70. Geburtstag von Albert Moeschinger, in: Basler Nachrichten (7.1.1967) (1967)
Oesch, Hans: Artikel "Albert Moeschinger", in: Die Musk in Geschichte und Gegenwart (Bd. 9), Kassel und Basel 1961, S. 420-422
Schuh, Willi: Albert Moeschingers Sinfonie Nr. 5. Mit einem Briefwechsel Komponist und Kritiker, in: Schweizerische Musikzeitung 101 (1961), S. 44-46
Ehinger, Hans: Albert Moeschinger sechzigjährig, in: Basler Nachrichten (9.1.1957) (1957)
Oesch, Hans: Albert Moeschinger, in: Schweizerische Musikzeitung 97 (1957), S. 169-174
Mieg, Peter: Artikel "Albert Moeschinger", in: 40 Schweizer Komponisten der Gegenwart, Amriswil 1956, S. 118-123
Strahl, Christa: Die Weisen von Albert Moeschinger im neuen Gesangbuch, in: Musik und Gottesdienst 9 (1955), S. 168
Mohr, Ernst: Albert Moeschinger. Werk und Persönlichkeit. Ansprache bei der Verleihung des Kunstpreises der Stadt Basel, in: Schweizerische Musikzeitung 93 (1953), S. 153-158
Schuh, Willi: Albert Moeschinger, in: Schweizer Musik der Gegenwart, Zürich 1948, S. 178-181
Handschin, Jacques: Neues von Albert Moeschinger, in: Schweizerische Musikzeitung 85 (1945), S. 424-429
Ehinger, Hans: Alfred [sic!] Moeschinger, in: Weltwoche (9.3.1934) (1934)