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The Op.22 was one of several concerti I suggested to Mike Spring at Hyperion back in the day that the label hasn't yet taken on, so I'm glad to see someone (promusician) has taken an interest. I'll get a listen to the realisation above, asap.

[Edit: I see it is just the opening so far, which certainly sounds promising! I look forward to hearing more.]

Thanks for this.
4c

I'm sorry to hear this. Ringeissen's excellent recording of the Alkan Op.35 Etudes was one of the very first (if not the first) recordings I bought for myself. He was a very solid pianist, technically very assured, with a strong, clear, sonorous sound.

Thanks, Eric, for bringing it to attention.

[6 Konzert Etüden]

I'm afraid I am no further forward in my quest to finance a recording of Jentsch's music, but I am pleased to say that a Japanese(?) friend of the unsung has created midi versions at Musescore of Jentsch's most difficult piano opus – his 6 Konzert Etüden Op.28.

They don't seem completely unified as a set, and melodically aren't groundbreaking, but this is high-quality piano writing in the Romantic, Lisztian virtuoso tradition.

• Allegro - the most academic study of the set, and perhaps the least interesting (but worth a listen!). Suggest upping the metronome to 150.
• Eroica - clearly influenced by, and in the same key as, Chopin's 'Ocean' etude, op.25/12
• Galop de concert - a delightful romp, in the salon vein, which would do well as a recital encore. Some of the piano figurations remind me of Méreaux's writing. Suggest bringing the metronome down to 150.
• Chromatische Etüde - eye-wateringly difficult, requiring the highest virtuoso technique and the mind of a master musician to make it sound like a coherent utterance. Worthy of the opus's dedicatee, August Stradal.
• Perles d'écume - possibly my favourite; a delicious work, with some gorgeous, oriental-sounding harmonies. Midi limitations are unfortunately intrusive around the halfway mark, at several fermata.
• Appassionata - the most widely know piece by Jentsch - praised by Stradal - which actually received several performances in his lifetime, by the Leschetizky student Natalie Duesberg. Barnstorming stuff, requiring a titanic technique.

Although in ways this is standard 'etude' fare, I'd be interested in views.

4c

[THOMAS PITFIELD: ORCHESTRAL MUSIC]

I'm not wholly sure if Pitfield falls within UC's remit, but on the evidence of hearing some of his music lately, I'll suggest that some members may be interested in this forthcoming recording on Toccata Classics. I see the Concerto lirico has been previously recorded, but the other works?

THOMAS PITFIELD: ORCHESTRAL MUSIC
Sinfonietta;
Fantasia for Violin and Orchestra;
Lyric Waltz for string orchestra;
Bucolics: Folk Song Studies;
Concerto Lirico for Violin and Orchestra;
Epitaph for string orchestra

Emma McGrath, violin
Liepāja Symphony Orchestra
Paul Mann, conductor

[I am here asking if anyone has experience of setting up a crowdfunder who might be able to offer some advice as to how I might go about this]

I think this got a bit lost in an earlier thread of mine, so I'm transferring for greater relevance and visibility (hope that's ok mods!?):

Esteemed members.

I am considering setting up (or arranging for setup of) a crowdfunding page to support a recording of some chamber music by Max Jentsch, including his Piano Quintet (midi posted elsewhere on this forum). This would mark the world-premiere commitment to disk of any of Jentsch's music.

Having been in touch with a world-renowned chamber musician – who is keen to be involved and has helpfully suggested a label and rough cost implications – I am here asking if anyone has experience of setting up a crowdfunder who might be able to offer some advice as to how I might go about this project.

I'm happy for this conversation to remain open here, or feel free to PM me – whatever is preferred.

Eager to hear your thoughts!

Many thanks
4c

Esteemed members.

I am considering setting up (or arranging for setup of) a crowdfunding page to support a recording of some chamber music by Max Jentsch, including his Piano Quintet (midi posted elsewhere on this forum). This would mark the world-premiere commitment to disk of any of Jentsch's music.

Having been in touch with a world-renowned chamber musician – who is keen to be involved and has helpfully suggested a label and rough cost implications – I am here asking if anyone has experience of setting up a crowdfunder who might be able to offer some advice as to how I might go about this project.

I'm happy for this conversation to remain open here, or feel free to PM me – whatever is preferred.

Eager to hear your thoughts!

Many thanks
4c

I have checked with the Schott Archive and they appear to hold the materials for the Concertstück, Op.42 and the already-recorded concerto, op.49, but they have no other concertante works.

[from his concerto in E minor]

I've gone down a bit of a rabbit-hole and, interestingly, I've just come across a contemporary French review mentioning the performance of a "Ballade and Minuetto Scherzo from his concerto in E minor...". It appears that these pieces were the ones Berlioz praised - his review is noted in an article from 1873 here.

The leading question now, for me, is whether the music of the published Concertstück, Op.42, which has these movement headings, bears any resemblance to that of the manuscript Concerto in E minor. Another later review mentions a performance of the Concerto in E minor by Dupont in Louvain, 1875, but no movement titles are given. A performance by Dupont in 1862 gives the first movement as 'Allegro', but no final movement title is given.

Finally, at least one other concerto is mentioned in earlier reviews from 1862-63; in the latter year, the key of D minor is attributed. So Fétis may have been correct after all!

More questions than answers then, but perhaps we are getting closer!?

The only information I currently have is that this work (the Concerto in E minor) is in manuscript, and was not published. If it was ever passed under the nose of a publisher, I'd say Schott in Brussels would have been a very likely contender. Their archive is partially online, but is going through a complete review and so their full archive won't be online/available for at least another few months.

How very frustrating! Perhaps the missing boxes (007, and 005 or 010? - presumably piano and full score) were used for the last performance of the work, if that could be established.

Were they able to help regarding the two 'Fantaisies', Op.13 and 79?

I don't know how I missed it, but Dupont also has a 'Fantaisie Dramatique pour piano et orchestre', Op.79, to his name in Liège. The supporting notes give 'piano seul', but that is also the case with the early 'Allegro du Concerto' (ie it is possible individual instruments/instrumental groups are indicated in the score.

4c

The Conservatoire de Liege also seems to have the Concerto en mi mineur – presumably the 'Concerto symphonique' – although it seems they only have the string parts and full score rather than a full set of parts.

The early concerto mentioned by Fétis is presumably his Op.11, of which only the first movement seems to exist (for e.g. in the British Library) as a reduction/arrangement for piano.

Finally, the other 'concerto' mentioned by Fétis and marked in the liner notes as Op.31, may be an error by Fétis. The opus is actually a 'Grande étude de concert pour le piano. Op. 31' according to the BnF catalogue.

Interestingly (and perhaps Gareth has in the intervening time discovered this for himself), since my earlier post I have now seen that the Conservatoire de Liège also has a 'Fantaisie pour piano et orchestre. Esquisse', his Op.13 - in their supporting notes it says 'Concerto pour piano'. Perhaps this was the early concerto that Fétis mentioned in his writings? In any case we now potentially have two early works for piano and orchestra (this 'Fantaisie' and the earlier 'Allegro du Concerto', Op.11) which have the potential to join the Concerto in E minor on record. Only time (and an enterprising pianist and record label) will tell!

4c

Thanks, 4candles. I found it. Yes a MS full score. Well, one can but ask.

I'm curious, Gareth, whether you had any success with the Dupont from Liege? I've been looking at his early Allegro du Concerto, Op.11, (with markings for instrumental groups in the introductory harmony and throughout) and it would surely make an obvious disk coupling with this MS Concerto in E minor above.

Best wishes.
4c

Do you know, by the way, what else will be on the Lyrita disk?
I have not yet had a reply from Simon, which is unusual. He normally responds at once, but he is a very busy bee!

Simon Callaghan's website confirms that, joining WSB's 6th piano concerto will be his 4th concerto, noted elsewhere here as underperformed. So this is all good news!

I think you're probably right Alan, and I also think it would be good to hear some real performances of his music so we can judge for ourselves.

His early works appear to have been influenced by Mendelssohn and Schumann, and his later works by Liszt and Wagner. As a pianist and chamber musician he played Beethoven, Schumann, Chopin, Liszt, Moszkowski, etc.

It seems to me, from what I have read about his music in contemporary articles and press pieces, and from what I have read of his own views as a music critic, that he had a genuine, solid talent but had a tendency to be somewhat prolix at times in his compositions. He also seems to have made too frequent use of the augmented fifth in harmonies.

Unfortunately his most important works are lost. Nevertheless, what I have heard of his music I am certainly encouraged by - including his large Piano Quintet, of which I posted a limited midi realisation a while back on this forum.

And Oliver Triendl seems to very much like what he sees too!

So my fingers are crossed for an eventual recording!