Conrad Ansorge (1862-1930)

[Alan Howe]

Perhaps if the upload were time-limited - to, say, 24 hours?

[britishcomposer]

Perhaps if the upload were time-limited - to, say, 24 hours?

That's a good idea. I have uploaded the file now and included an interview with Oliver Triendl about the concerto. It's in German but perhaps it may interest one or two listeners!

[Gareth Vaughan]

Have you a link to the file, please?

[Alan Howe]

The link is now available in the Downloads board and the post will be deleted in about 24 hours' time. I have also corrected the year of Ansorge's birth - 1862.

[Alan Howe]

The upload will be deleted in roughly 23 hours' time.

[tuatara442442]

It was a surprise! Thank you very much

[Alan Howe]

The post containing the link will be deleted as of 23:00 UK time.

[britishcomposer]

Alan, do you mean that you will delete the post or will I have to do it?

[Alan Howe]

It's my responsibility to honour the terms of the upload, so I'll be deleting the post itself as of 23:00 today, UK time.

[Alan Howe]

The download post has now been deleted, as advised.

[britishcomposer]

I have also corrected the year of Ansorge's birth - 1862.

I hadn't noticed the mistake, Alan!
I copied this line directly from Oliver Triendl's website. He lists his repertoire chronologically and places Ansorge correctly between Thuille and Sauer. So it must be a simple typo on Triendl's side.

[Alan Howe]

I nearly missed it myself - I had to double check!

[tuatara442442]

After listening I don't think it's a very impressive work. The outer movements are constantly on the edge of being derailed by uninspired chromaticism. But this is not as boring as Busch and Senfter, and I think the slower passages of the first movement, especially those accompanied by celesta , is of some interest. I also had a listen at Ansorge's Cello Sonata and have listened to his Ballade earlier. They are not of much interest either in my opinion. The coda of the first movement of the Cello Sonata is amusingly over the top, but the passages involving the second subject somewhat made up for the rest of the movement.
The common characteristics of these compositions by these Regerite-likes is that they spins out chromatic notes of not much interest when they are trying to be dramatic, just like their uninspired predecessors pounding out commonplace chords. They can write more engaging music when required to be relaxed, but not always.
Anyway, I'm definitely interested in listening to a new Sauer PC1, though. It is quite clichéd for the most part, I would say. But I love the finale, to the extent that I practiced it a little bit.
 (Did anyone noticed the similarity between the main themes of the finales of Sauer PC1 and Stanford PC3? the latter is also a favorite of mine)

[Alan Howe]

Beyond the chromaticisms I didn't find the Piano Concerto at all like Reger. The whole demeanour of the work is much more like Richard Strauss - indeed I was tempted to call it at times rather 'puckish', as though Till Eulenspiegel were somewhere behind the scenes. However, I do agree that one is continually expecting a big, engaging, gushing passage to arrive - but it never really does. Such is the way of things with worthy, but second-tier composers, I suppose. Of course, the work is very late (Triendl gives a date of 1922). Nevertheless, an enjoyable listen - in a modest sort of way. At least it doesn't go on for terribly long!

[tpaloj]

I'm very happy to present a Dorico/Noteperformer audio of the whole Ansorge concerto!

Tuomas, can you upload it to an online storage site?

Now that the Triendl recording has been announced, do you think there is any need to hear my noteperformer rendition at all? I have no objection to uploading it, but I'm just curious.

I haven't listened to the recording yet, but just based on my recollections on working with the score some years ago... I thought that the work had something in common with the style of Pfitzner and Busoni concertos: perhaps, just in concept. Despite the chromaticism which I did not a detriment here, Ansorge has composed a beautiful, poetic work which, while maybe (as Alan has pointed out) leaves the listener wanting a little more of it, contains powerful and enchanting passages and writing for the piano and orchestra alike. A very worthwhile work in my view, worth hearing and studying.