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For those who might be interested - the stream can be found here:

https://www.youtube.com/watch?v=famd8_eJ4lU

Further information here:

http://www.akademie-st-blasius.at/wp-content/uploads/2021/02/210321-Castelbarco-Creazione-Programmtexte-Konzert-Stream-ASB.pdf

To be exact, Castelbarco's Sonatas are not directly based on Haydn's Creation. In the preface of the first edition of the "Seven Words of Christ on the Cross"-Sonatas he comments that he was inspired by Haydn's music, but all three cycles (Seven Words of God the Creator, God the Punitive, dedicated to the biblical Flood, and God the Redeemer, i. e. of Christ on the Cross) are based on poems of the composer, published as: Cesare di Castelbarco, SETTE PAROLE DI DIO CREATORE, PUNITORE, REDENTORE PARAFRASATE IN VERSI E POSTE IN MUSICA IN TRE OPERE DISTINTE [...], Milano, 1846.

I could not find direct Haydn quotations in the Sonatas "sopra la Creazione"....

Guten Abend Dr Gratl!

Will this fascinating composition by Cesare di Castelbarco be recorded for commercial release on CD?

Dear Alan, a recording for CD is included!

Several of his string quintets and other works are @ IMSLP with the result that I'm already curious about his music as a general thing, and am curious - thank you.

I presume from the worklist there that this work is Op.15 given there as "Characteristic Sonatas on [?Haydn's] 'Creation', for 2 Violins, Viola, Cello and Double Bass; or Violin, Cello and Piano". (The sonatas op.15 are mentioned in an issue of the Gazzetta di Milano that Google Books thinks should be in snippet view but date-estimates to around 1831 (obviously a copyright concern at 190 years old) so perhaps date from earlier than 1846, btw.)

No, it is his op. 38 - Sonate caratteristiche sopra la Creazione per grande orchestra (Milano, Luigi Scotti, 1846)...

I would like to announce our performance of an outstanding musical discovery:

Cesare di Castelbarco (1782-1860), Sonate caratteristiche sopra la Creazione (printed Milano 1846)

The performance of the Orchester der Akademie St. Blasius directed by Karlheinz Siessl will be broadcasted as concert stream on Youtube this Sunday, 19.30 MET

The link to the stream will be published here soon - and here you can find some further information (in German, though):

https://www.tiroler-landesmuseen.at/termin/schatzkammer-innsbrucker-musikverein/

I am glad to announce that our recording of Johann Rufinatscha's Lieder (CD musikmuseum 25) is out now and will be available in the Online Shop of the Tiroler Landesmuseen very soon (http://shop.tiroler-landesmuseen.at/cd-dvd/musikmuseum.html). The Lieder of Johann Rufinatscha (1812-1893) can be recommended not only to Lieder and Rufinatscha entusiasts!

Dear Wheesht, you are right, my colleagues are working hard to update our webshop, which means that in the end all our CDs should be included. We are sorry -  not only our shop, but the whole website is under construction at the moment.

[s.eller@tiroler-landesmuseen.at]

Dear Rufinatscha fans, the CD with the 3rd Symphony (recon. Huber) and the 3 Concert arias is out now - it is available in the Tiroler Landesmuseum Ferdinandeum; please contact my colleague Silvia Eller:
s.eller@tiroler-landesmuseen.at

Dear JimL, the concert aria in F which was mistaken for a symphony will not be on the CD, since the scoring has two bassetthorns - quite unusual for the 1830s and too expensive for our performance in 2012.

Hüttenbrenner wrote two symphonies. His musical estate is preserved in the library of the Kunstuniversität Graz, the manuscripts and prints are available as electronic resources - see: https://phaidra.kug.ac.at/detail_object/o:832?SID=&actPage=&type=thumbnails. I don't know any recordings of the symphonies.

Hüttenbrenner is well worth of mention, a close friend of Schubert and the leading figure of the musical life in Graz and Styria in the first half of the 19th century. I know a fine Lieder CD (see http://www.youtube.com/watch?v=kylpd3_ivhk) and I'm preparing an article on his sacred music... part of a book on him which is supposed to be printed next year.  And a few years ago I found the autograph of a piano "Fantaisie tragique" by him (1829), dedicated to the (once very famous) Tyrolian pianist Caroline Perthaler. A Tyrolian pianist of our times, Marlies Nussbaumer, has written a book on Perthaler and included a CD, which also contains this virtuoso "Fantasie tragique".  Try http://www.nussbaumermusic.at/index.html#cd.
 

Dear "eschiss",
Due to the fact that liturgical music of the 19th century is my daily bread, I can give yiu some information that might be useful for you:
First of all, the use of the Soprano-, Alto- ant Tenore-clefs in church music is nothing special, it was common until the late 19th century, in some places even longer. Almost all the sources for church music, be it handwritten or printed, made use of it. That's also true for such famous people as Haydn, Beethoven and Bruckner.
But the editions you have mentioned (Pustet etc.) are connected to the reform movements in Catholic music and liturgy, above all Caecilianism. The reformers wanted to restore an ideal liturgical music without the theatrical, "profane" pomp of the Baroque, Clasical and Romantic era. They found their ideal in Palestrina and the music of his era - and in Gregorian chant. Regensburg with its "Schule für Kirchenmusik" was THE centre of Caecilianism (together with Brixen, Tyrol). No wonder that Pustet published not only compositions of the Renaissance masters (often in obscure romantic versions), but also thousands of works by the leading reformers, e. g. Witt, Mitterer, Renner, Deschermeier, Tresch and so on. These composers tried to imitate Palestrina, which most of them just couldn't do successfully, omitted the romantic orchestra and wrote pamphletes against the "profanisation" of church music, which they found in almost all music after 1600, including Mozart, Haydn, Beethoven, Bruckner... Most of the "Caecilian" compositions are dull and musically not very interesting, archaic and not very challenging in harmony. 

I see no reason to do this. There are precisely the same number of symphonies as before, but No. 3 is now a different work. It does no harm to leave the designation of No. 4 to an incomplete work, but removing the number will cause unnecessary confusion. Should Schubert's 7th and 8th be deleted merely because there are incomplete? Would anyone like to try to renumber the symphonies of Mozart? It isn't possible to determine how many symphonies Mozart wrote. Some of his symphonies have been left out of the list, while the numbered symphonies include works written by his father, or by friends. To renumber Mozart's symphonies each time a new one turned up, or an old one was found to be by someone else, would be unhelpful. I hope that Chandos will stick with the old numbering.

Dear Hovite, the problem is that the "Symphony no. 4 in F" by Rufinatscha does not exist, a librarian of the Tiroler Landesmuseum has mistaken a concert aria with a symphony. And the symphonic fragment in C major from Rufinatscha's estate is not only incomplete, it exists only in a version for piano 4hands and bears no date - it can not really be included in the chronology of his symphonies.     

I take the opportunity to announce our future Rufinatscha recordings - with prospected dates of issue. All recordings will appear under the Label "musikmuseum" (the record label of the Tiroler Landesmuseen).
1) Rufinatscha Lieder - early February 2013.
2) Rufinatscha Symphony no. 3 & 3 concert arias - autumn 2013 or Jan 2014, depends on the financial resources. Money, money... donations welcome ;-)

My impression on the Symphony Nr 3, even more after listening to a preliminary version of the recording made on Nov 24/25, is largely the same as that of conductor Karlheinz Siessl: The c minor symphony is a capturing and very successful work with an almost Brucknerian final movement (reminding more of the later composer's Scherzi), and also the slow movement is well-balanced and melodious. Michael F. P. Huber has done an excellent job, the completion shows his typical handwriting, but it is very true to Rufinatscha's style. The first movement of no. 3 ist as monumental and full of grandeur as those of the later symphonies, but much  more impressive and thrilling than the (sometimes dull, too long) 1st mov. of the 6th. I was worrying about some passages which seemed dull for me from the score in the 1st movement of no. 3, but the performance has brought them to life.  The scherzo foreshadows that of the 6th, sometimes with direct borrowings.
 

<<It also needs to be widely disseminated in musicological circles but I assume that you have that in hand MusFerd?>>

I'm doing my best.