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I posted the update below over in the "Composers & Music" forum, where the announcement had been made about the PC recording, but thought it might deserve its own thread here in this category....who will win the race for the first acquisition,  hearing, and review?!   
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Looks like the aforementioned Brun PC is now available!   

http://www.guildmusic.com/shop/wbc.php?sid=456551aba58f&tpl=produktdetail.html&pid=16019&rid=261&recno=4

Gregory

So, the following is part-question, part-observation, part-rant, apologies in advance for the length.  Over the last month or two I made note of a couple of to-be-released recordings and their availability-dates, all discovered by reading posts from eagle-eyed observers/contributors on this forum.  The release dates have come and gone, and I find myself still trying, in vain, to obtain copies at competitive prices.  They are the Kahn Piano Trios (cpo), and the Thieriot Piano Quartets (also cpo) - will also be on the lookout for the Rietz cello concerti, "available" today, May 2.   Yes, I know I can obtain them through JPC, but at this moment the prices are not exactly competitive with what I am normally willing to pay, and (especially) the shipping to my part of the colonies makes the purchase prohibitively expensive.  But I'm more interested in understanding why they seem to be unavailable anywhere else.  I frequently buy cd's from Amazon, both directly and through their Marketplace system, I frequently download recordings from iTunes, and occasionally utilize other sources such as eMusic and ClassicsOnline.com.   My question is.....why is it so difficult for me to find these newly-released recordings?  I well understand that classical music is not the central focus of music industry sales/marketing these days and unsung composers make up a dramatically smaller subset, but it still seems curious to me that I'm working this hard at finding someone who will take my money.  What does "release date" actually mean, if not, well, the date the recording is available from the usual sources?  Are these recordings initially released through one entity exclusively, such as JPC, does it simply take a while before recordings trickle down to all other major retail sources?  Are vast companies like Amazon and Apple iTunes in a position to charge substantial fees or commissions for selling content through their sites, fees which smaller recording companies just cannot manage?  (I do see plenty of other Ars and cpo recordings on these sites)  Are there labyrinthine international regulations about this sort of thing (wouldn't surprise me), or is it more a case of less than perfect coordination/marketing/distribution?  I'll keep at it, and I'm quite sure I'll find what I'm looking for eventually (at a reasonable overall price)  -  and I also accept that this is rather a first-world problem     -  still, it surely seems like it's harder than it ought to be.  We all wish unsung composers would become more "sung" in the world - well, I'm trying to do my small part by buying and collecting these recordings, but it's not easy!  I have the utmost respect for the collective wisdom about music and the industry to be found on this forum, so I'm keenly interested in members' opinions.  Help me understand!  Thanks, I feel better now. 
Gregory

https://itunes.apple.com/au/album/emanuel-moor-cello-concertos/id854690154

For those of the iTunes download persuasion, there also appears to be this recording of the op. 69 double-cello concerto, as well as the single-cello concerto, op. 64.  The webpage lists the download at $16.99, but if one clicks the blue "show in iTunes" button and goes directly to iTunes, the price miraculously becomes $9.99.  In addition to the two concerti, there's a track identified as "Prelude for Cello & Orchestra in E major, op. 123", although (unless I missed it) I don't see that matching up to anything on Alan's previously posted list of compositions.   Downloading even as we speak.   
Gregory

Greetings from Hawaii, all.  I share the members' enthusiasm for the Kickstarter Reinecke project of Michael Samis (mentioned in another thread), and will definitely be purchasing the finished product in due course.  What I'm wondering here is....the aforesaid Reinecke cello concerto does seem to be a large hole in an otherwise generally available canon of music - but the Reinecke string quartets (of which there appear to be 5) seem to comprise another curious absence.  Most all his other chamber work seems to be represented to one degree or another - any thoughts on what might be wrong with all 5 quartets, to merit such a lack of recording interest?
Gregory