Biographical sketches of Anton Urspruch (1850-1907), a professor at the Hoch and Raff Conservatories in Frankfurt, make much of his association with Liszt. True, Urspruch attended Liszt’s Weimar masterclass in 1873, a year after Liszt had arranged for a performance of the younger composer’s piano concerto. However, Urspruch exhibits virtually none of the more progressive tendencies of the ‘New German School’ and his eclectic piano music is closer to the salon pieces of Joachim Raff, his mentor in Frankfurt, than to Liszt. Ana-Marija Markovina, the Croatian-born pianist now based in Cologne, has recorded a generous sampling of Urspruch on three discs. This follows up her 2011 recording of Opp 2, 19, and 20 on Genuin.

The Five Fantasy Pieces from 1872 are deeply indebted to the Novelletten of Schumann. Schubert is the primary model for the 22 German Dances, their textural density suggesting a nod to Brahms, while Mendelssohn seems the inspiration for the 24 Variations, Op 10. If Urspruch’s later pieces are less obviously derivative, an unmistakably original voice remained elusive.

Generally speaking, Markovina’s performances are weakened by uncertain phrasing and, contrary to Urspruch’s relatively abundant expressive indications, surprisingly bland dynamics. She gives scant credence to chord voicing or marked contrasts between melody and accompaniment. Finer distinctions of articulation, of legato and staccato, are often left to the imagination. These factors, in combination with obtrusively destabilised rhythms, tend to deprive Markovina’s readings of character and, on occasion, coherence. It may be that a revival of Urspruch’s piano music, should one be warranted, must wait a while longer.