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Indeed, Greg, 'forensic tilt' is a good description of the original thesis and I too hope for an improvement. When I read the thesis I doubted that a publication might result from it.

Yes, I found Self's analyses very imaginative, too. Maxwell however does not agree with Self's concept of a germ cell determining a whole movement. I do not recall his argument in detail but his study proposes definitely different approaches.

Greg,
thank you for bringing this to my attention.
Though I am not sure if Moeran is considered a proper subject for discussion here, I can tell you that I read Maxwell's thesis on Moeran a few years ago. This had very few samples of detailed analysis. I remember his discussion of the problematic chronology of the E-flat String Quartet. This was quite fascinating to read and not at all ,over the top'. But I also remember that his take on Moeran the man was quite analytical, not to say deconstructivist. He definitely wants to make an end with many established myths about Moeran. It seems the thesis is no longer accessible but a chapter of the book has been published earlier and can be read here:
https://www.musicologyireland.com/jsmi/index.php/journal/article/view/170

Hope this helps!

Dear members,

I decided to upload a recording of orchestral works by Emilie Mayer and Friedrich Wilhelm Kücken.
I understand from interviews that at least the works by Mayer will be released by Dabringhaus und Grimm in autumn.
The files will have to be removed in time. I would appreciate a note in case I should forget about this!

Alan, you may follow the link to the Deutschlandfunk page instead and stream the concert.

Dear members,

I would like to share this recent performance of Bronsart's Piano Concerto with you.
It was broadcast as part of a lockdown concert without public attendance.
I did not listen myself yet but I thought you may be interested to compare it to the hyperion recording. The conductor is the same, Eugene Tzigane, but the pianist our indefatigable Oliver Triendl.
You will find it shortly in the downloads section I think.

I guess it was me who placed the rumour. At least here. When I posted a live performance of Fuchs 2 I mentioned that the conductor Karl-Heinz Steffens had already recorded No 3 for cpo. He said so in an interview for German WDR radio.

Felix Weingartner's Sinfonietta in D major op 83 is written for a concertante string trio and small orchestra. I think I once uploaded a recording.

Some of you will have the Capriccio CD of rare RVW conducted by the German Karl-Heinz Steffens.
The German Amazon site has an interview with him. (English subtitles included.)
https://www.amazon.de/Poisoned-Kiss-Bucolic-Suite-Country/dp/B072MPK7MM/ref=mp_s_a_1_1?dchild=1&keywords=vaughan+steffens&qid=1613243958&sr=8-1

My first encounter with RVW Symphony No. 4 was via a radio broadcast. I do not remember the orchestra but the conductor was Peter Jona Korn. Being jewish he emigrated to the UK in 1933 and became a pupil of Edmund Rubbra. According to Korn's German wikipedia entry Rubbra introduced him to the music of RVW who became very important to him. I know several of Korn's compositions but couldn't detect any obvious influence. Well, I admit this is another English connection but at least Korn conducted RVW in Germany with a German orchestra at a time when this was quite a novelty.

According to Swiss Radio SRF2 a CD containing the piano quartet is in the can.
Anyway it will be broadcast in February:
https://www.srf.ch/audio/ch-musik/aargauer-romantik?id=11916424

Hm, what about the last track? This seems to be a first version of the first movement. So for completists at least it's a must-have.

For the German speaking among you here is a comparative review of Chailly vs Wilson by Christoph Vratz for Deutschlandfunk Kultur:
https://www.deutschlandfunk.de/ottorino-respighi-italien-reise-fuer-die-ohren.727.de.html?dram:article_id=484174
He argues along the same lines as Adriano.

Dear members,
You may be interested to know that mdr kultur will live broadcast a performance of the Vorisek symphony this evening. The conductor will be no less than Herbert Blomstedt!
https://www.mdr.de/kultur/radio/ipg/sendung-592198_days-true_ipgctx-true_zc-f9c202c7.html

Why can't such series start at the beginning and progress chronologically?

My idea: they took a look at all ten, considered op. 47 1 and 3 the most interesting and decided to start with them in order to attract highest possible attention of critics and buyers.
Otherwise buyers wouldn't probably bother to continue exploring the complete series. (Not necessarily so, but I have noticed a similar approach in the past with other projects.)

Another idea: they decided to postpone op. 17 till the end because some customers already have the earlier recording. The same approach could be witnessed with the Stanford quartets at SOMM.

Btw, I like op. 17.1 very much, haven't heard no. 2.

along with the music of Grace Williams

Mark, you probably meant Florence Price, or did you relate to Grace Williams's Welsh ethnicity?