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I have just seen the booklet illustration for the first time, and notice that it describes the Sauer No2 as Op254! Of course Op254 is correct for Reinecke's 4th concerto. Sauer seemed to have ditched the use of opus numbers after a few sporadic early works!

I have just noticed this! https://www.jpc.de/jpcng/classic/detail/-/art/kovarovic-forgotten-czech-piano-concertos/hnum/11737628. Shame about the couplings, but I can live with it. The Kovarovic concerto was one of many that Hyperion perhaps should have taken up! I did mention it several times to Mike Spring in years gone by, but he never seemed to be interested.

Moszkowski's piano quintet probably predates anything else that we know of, and is incomplete - lacking a last movement. This in itself should not be a problem, though, if one considers the number of works that survive in varying stages of incompleteness| It is hoped that the quintet will feature in a chamber music CD at some stage in Toccata's Moszkowski edition. Although the original works for violin and piano have all now appeared on CD at least once ( a very early Stücke for violin and piano is indicated as lost), there are also the three pieces for cello and piano Op29, which have never been recorded!

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Why on earth must it take 90 years for such pieces to get performed? What a world of difference the general perception of classical music would be if more pieces like this were played, and with frequency at that! If only more performances like this happened with American romantic composers...

This is a never-ending problem that has beset classical music for many years. It is the powers-that-be in the classical music world that are responsible. Those that preside over our music colleges and similar instituions, broadcasters, record companies, concert promoters etc. The same old excuses are trotted out for wanting to stick to the same old hackneyed repertoire. Women, contemporary and ethnic composers are doing quite well in a very biased musical environment; but only because of who they are/were, and not in any related to their actual compositional acconplishments, and are lucky that "political correctness" on behalf of the musical establishment gives them a clear biased and envied advantage in achieving exposure. The music that members of this forum do so much to investigate and promote, could have a real positive impact on the popularity and interest in classical music in general if it is thoughtfully and professionally promoted by individuals who really know what they are talking about.

I have the score and part for the violin sonata. I was talking to the violinst Hideko Udegawa a few years ago as she was enquiring about obscure Russian repertoire that I had performance material for. I introduced her to the Svetlanov scores that I have, and she was very interested to make a complete Svetlanov CD, as all the pieces would fit nicely onto one disc it would seem! I haven't spoken to here recently, but she was hoping to get some sponsorship in place. This post has now prompted me to find out if this potential recording is still likely to happen - I hope so as Svetlanov's music for violin and piano is really attractive and well worth recording, especially the sonata!

Suppé's recently-discovered orchestral "Fantasia Symphonica" of 1859 receives it's world premiere recording here, coupled with more familiar fare as well as another premiere! https://www.jpc.de/jpcng/classic/detail/-/art/fantasia-symphonica/hnum/11689650

I have sent an email to the CEO of nilento records, Lars Nilsson. Hopefully someone will get a posotive response! It seems such a shame that such enterprising repertoire is suffering from such poor and ill-conceived distribution! Surely the label wants to sell as many copies as possible!

I have not come across Wladyslaw Pachulski before, but I note that he was the older brother of the much better-known Henryk, the composer of much attractive piano music. Will certainly obtain this curio then!

A welcome release - not to be missed!

Ther are are some real delights here - and no Florence Price in sight, or more correctly, within earshot! https://www.jpc.de/jpcng/classic/detail/-/art/jacobsohn-beyond-twilight/hnum/11584460

Whilst i have this CD, I have to admit that it does not represent Jensen at his best unfortunately. Although I have scores of nearly all his published lieder - and there certainly some gems to be found here, his piano music is surely where he shines brightest! Also, it may be worthwhile for any interested parties to look at his unpublished piano trio (although marked as Op6, this number was later allocated to a set of published songs). This dates from 1856 and was dedicated to Liszt. See IMSLP:https://imslp.org/wiki/Piano_Trio%2C_Op.6_(Jensen%2C_Adolf)

An interesting anthology of piano solo and duet works by Chopin's pupil, which I, for one, will have to obtain!..https://www.amazon.co.uk/Adolphe-Gutmann-Chopins-Favourite-Student/dp/B0C825X58M/ref=sr_1_3?crid=3RQE13FOYDSGQ&keywords=gutmann&qid=1695207784&s=music&sprefix=gutmann%2Cpopular%2C69&sr=1-3.

This release is most welcome, and the 2nd sonata, "To Cora" is a fine work IMHO. The only previous recording of the sonatas, using Parry's piano at Shulbrede Priory (which I had the honour to be able to play during one of the "open house" events there some years ago) obviously has its limitations and is probably more of historical interest only, so it will be good to hear these works for the first time on a modern instrument! Furthermore, the accompanying 7 "Characterbilder", dating from 1872 - and equally shamefully neglected, make their debut on a first modern instrument recording. The 2CD set is completed with Parry's posthumously-published "5 Miniatures", a small anthology including music from his early years.

Curiously, but similarly again most welcome. it seems that there is interest in Parry's piano music from another source, namely the Italuian-based pianist Christopher Howell, who has previously done much for Stanford's piano music! https://www.amazon.co.uk/Piano-Music-Vol-1-Christopher-Howell/dp/B0CG44RX5X/ref=sr_1_9?keywords=Parry+piano&qid=1694104048&s=music&sr=1-9   

My copy has just arrived and I will make some observations after an initial hearing,mainly concerning the Grande Sinfonie/sextet. I feel the work as a whole is probably more suitable in its chamber music guise - although one can only imagine how the (presumably) original orchestral version would come across. I immediately was reminded of  the wonderful 3rd Sextet (Op90) of Henri Bertini, which was published in 1839, and therefore more than 20 years earlier than Katski's work. The similarities are especially evident in the outer movements, with both works having memorable thematic material. The Katski does seem to hark back to Bertini's work in style, especially in the keyboard writing, which could easily be by the older composer, with shades of Kalkbrenner lurking in the background! (There is mention in the liner notes of Katski meeting with von Bulow and Kalkbrenner in Berlin during the 1850's, but this is incorrect as Kalkbrenner died in Paris in 1849).  In any case, this serves as a timely reminder that Bertini wrote SIX such sextets, and the remaining five are definitely well worth investigating!

The Piano Trio is again full-on, with much relentless virtuosic piano writing throughout - perhaps a tad too much at times, but immensely enjoyable nevertheless. Altogether, a splendid release of enjoyable music, guaranteed to please, and superbly performed!

More delights from Alfredo d'Ambrosio here on this new Tactus release of his chamber music - all first recordings as far as I am aware! As well as the String Quartet Op42 and Suite for String Quintet Op8, there are also four exquisite encores of a more "palm court" persuasion! https://www.prestomusic.com/classical/products/9513202--d-ambrosio-quartetti-e-quintetti-d-archi