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I'm with you, John, re Rubinstein's chamber music. I like both piano quintets (the one with winds and the one with strings) as well.

Vox often made cuts. The old Ponti recordings are full of them (when they couldn't use an edition that already had cuts, as they did with  Moscheles 3, in the Reinecke edition.) The Kalkbrenner 1 with Hans Kann also used the Reinecke Edition, and cuts were taken in the finale of Goetz 2 (Ponti). The Ponti performance of Litolff's Concerto Symphonique No. 3 had the orchestral introduction to the 3rd movement completely omitted, and much music was taken out in the Galling traversals of both the Hummel 2nd and 3rd concertos. I believe the orchestral introduction to Hummel 4: I (Kann) was also trimmed.

Any relation to Frederic d'?

Ina Boyle composed a Christmas carol that she quoted in the finale of her violin concerto (although a case can be made that she based the principal theme of the first movement on a motive from that carol.)

The Herz rondo precedes his 1st Concerto, IIRC.

The F minor concerto would appear to be the one numbered as his 1st, and is interestingly an early example of progressive tonality, although not particularly daring (opening movement in F minor, finale in A-flat.)

I believe that is the case, and Friedrich named his son after his own father.

Puchalski/Pachulski, Tomato/Tomahto? 

Be careful not to forget that Friedrich's son Christian was also a composer.

Interesting that he didn't include it among the 3 numbered concertos, although it's hard to say he numbered any of them himself.

The Hiller Konzertstück is a concerto in all but name. Perhaps he called it something different because of the march-tempo 1st movement, but it is a fully 3-movement work.

And the Scottish Fantasy, Double A.

More appropriate for the time he wrote it, I would think.

This reminds me of that oft-quoted G.B. Shaw comment that Heaven was an eternity of German music and English literature, and Hell was the opposite.

Speaking of Jaëll, don't forget her beautiful cello concerto, which would be a welcome addition to a repertoire that has all too few works in it already!