During the present century, the musical establishment’s attitude towards Moszkowski and other nineteenth-century composers of so-called ‘salon music’ has been disparagingly critical, and it has been fashionable to cursorily dismiss such music as being third-rate, frivolous, and therefore of no importance. Now, however, such prejudices are being cast aside, and with a growing interest in a romantic revival, the immediate appeal of Moszkowski’s piano music makes it a most welcome rediscovery. After all, Paderewski declared that, after Chopin, Moszkowski best understood how to write for the piano.