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I believe there is an entire project to edit the works of Johanna Senfter, but so far, they only have managed to release one of her symphonies (the 4th). It would be interesting to contact the people working on the project to see what else they have managed to complete in performance-worthy editions.

I wouldn't do without his 2nd Cello Concerto. It is beyond doubt the most original of the works, in conception, that he ever labeled a "concerto", and brimming with melody from start to finish. It is of interest to note that the next opus number after Moses is the Piano Konzertstück, another fine work.

A few years back there was a link here to the modern premiere of the  D minor violin concerto by the Dvořak student Fran Lhotka. That link is gone, the YouTube video has been deleted, and so far as I know, any projected recording of the work has yet to materialize. Would it be possible to upload it here until such time as it becomes available elsewhere? Does anybody have a copy of it they can hurl into the cloud?

Any relation (however distant) to Charles Hubert Hastings?

I wasn't aware she composed another piano concerto other than the B-flat of 1850, a work I already know, and actually find a little disappointing. Imagine a piano concerto composed after the Schumann, Henselt, Liszt (at least prior to the final versions) and Mendelssohn works in the genre that sounds like it could have been written 60 years earlier, and you have the Mayer.

[Dussek]

The Dussek G minor concerto is one of the 2 (the other being the Beethoven 3) that essentially created the genre of the 'Romantic' piano concerto well before the 'period' itself started.

I was addressing Santo. He seems to have forgotten the Weber CQ - another potential coupling for the Mozart that had a family tie.

You could have suggested the clarinet quintets of Marteau and Thieriot...

Johanna Senfter. Listen to her 4th Symphony.

I wonder if it has a discrete overture...

Bronsart (von Schellendorff) lived a fairly long life. I'm pretty sure that when he composed his concerto he was much younger than that image, but it doesn't appear that he posed for any photos or portraits in his younger days. It would indeed be interesting to see what he looked like as a young man.

Great news! Now if only someone would clean up the score of his VC and digitize it! The copy at IMSLP is the MS, probably in need of editing.

Wasn't Pingoud a bit on the avant-garde side for this forum's remit? At least towards the end of his career, IIRC.

The Bronsart is also an exception (although the 1st movement does indeed end in the major.) So are the Moscheles 3rd and 7th piano concertos, and the 2nd and 5th Concertos Symphoniques of Litolff. All have finales in the minor key, and don't brighten up at the end. Now that I think of it, the 1st and 3rd Scharwenka concertos are the same; in fact, the 3rd has a finale that starts in the major key, and ends up with a cyclic return of the opening movement's material in its initial guise, finishing up in the minor (with an almost verbatim reprise of the end of the first movement.) There are probably a number of additional Romantic piano concertos that end in the minor key, but I can't recall them at the moment.

If there is an introduction of some kind in the first movement that is in the minor, but the movement proper is in the major mode then A Major would be an appropriate description. However - remember the error on the premiere LP recording of Anton Rubinstein's Piano Concerto No. 1. That was said by the writer of the liner note to be in E Major, which it most decidedly is NOT (any more than Chopin's 1st Piano Concerto is.) This error was then promulgated in the subsequent recording (I particularly love the Marco Polo/Naxos CD by Banowetz, where it says it's in E minor in one place, E Major in another, and just plain E in another - talk about covering all your bases!) So the d'Albert concerto may have been mistakenly listed as being in A Major from the get-go. We'd have to give it a good examination to make sure.