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Unfortunately for Australian collectors of Braunfels, this download is geoblocked for us.

According to notes on the "Symphony Services International" website, presumably prepared either by or on behalf of the publishers of the orchestral score of these arrangements [Schott], they were done for a memorial concert for Anton Rubinstein, which took place in 1902.

The booklet writer for the koch-schwann recording [Berlin Radio Orchestra] goes through the list of arrangers and gives their dates and a couple of background facts for each one, excepting "A. Petrov" who has no dates and the comment "of whom we know nothing, not even his first name". About Kalafati, the comment is "a pupil of Rimsky-Korsakov and from 1900 professor at the St. Petersburg Conservatoire, where Stravinsky and Prokofiev were amongst his pupils". The note writer also states that the year of publication of this suite of arrangements is not known, although I note that Belaieff the music publisher died in 1903 and if the arrangements had anything to do with the famous Friday musical gatherings of this circle [Les Vendredis] at his house, the arrangements were probably done prior to 1903. This recording also includes 3 pieces from "Carnaval" as orchestrated by Ravel. We know that these were a specific ballet commission [from Nijinsky for his own troupe, in 1914].

The note writer for the Irving disc despatches things in 6 lines although he does mention that Kalafati was Greek born !

There have been at least 2 recordings of this suite of orchestrations : by the Philharmonia Orchestra conducted by Robert Irving (1959) and by the Radio-Symphonie-Orchester Berlin conducted by Peter Gulke (1986). I am intrigued that you say it was done for the production of the ballet "Carnaval" by Diaghilev in 1910. I have always thought it was a pre-existing set of orchestrations that got pulled into service for the ballet production after a trial run of the ballet, danced to the original piano suite, was a success. The note writers for the cd's don't have much info and in fact make the point that nothing is known about "A. Petrov", not even his first name. I do notice that Arensky died in 1906, some 4 years prior to the ballet production.

I feel that Thomas' full evening ballet scores may be well worth hearing. Judging by the "Fete du Printemps" from Hamlet and the divert from "Francoise de Rimini" [both recorded by the indefatigable Richard Bonynge] he had a very sure grasp of what was required for a brilliant, scintillating ballet scene in a 19th century French opera. I can always hear strong traces of Massenet in Thomas' operas, but of course it should be the other way round, as Thomas was an encouraging mentor to the young Massenet.