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one other thing- apparently in a repository called the Kirsten Flagstad collection ? there is a reel tape of a 1959 performance, Waldemar Alme piano, ( ? orch, ? conductor) of a 1959 performance of the F minor piano concerto.

In addition, both Gjerstrom piano concertos have been recorded for broadcast by Ebba Isene/Olslo PO/Øivin Fjeldstad.  That's why I list these works in my online discography of Music for Piano and Orchestra.

Gjerstrøm, Gunnar (1891-1951) Norway
Concerto No. 1 in f (1930)
Concerto No. 2 "Sjøstemninger" [By the Sea] (1936)

I would think that anyone interested in the scores could get them from these parties or learn whom to contact.

The overture's eerie precedent is Copland's El Salón México.  Still haven't recognized anything familiar about the violin concerto though.

The late Jose Alberto Kaplan utilized "intertextuality" in many of his works:  that is, he often used well-known works by major composers as a framework (melodically, rhythmically, harmonically, in orchestration, etc.) while superimposing on this local/regional elements that many outside of his original Argentina and adopted country (Brazil) probably would not recognize.  Therefore, many people hear the "plagiarism" without noticing the other creative elements involved.  Kaplan's autobiography has been published in Portuguese.  There he still doesn't give what most people would consider appropriate credit to the composers he borrows from.  I noted in my online piano-and-orchestra discography years ago that Shostakovich's Piano Concerto 2 = Kaplan's Piano Concerto. However, he doesn't mention this or that Bartok's Piano Concerto 3 = Kaplan's Violin Concerto, Ginastera's Piano Sonata 1 = Kaplan's Piano Sonata, etc.

hrm. according to Todd (Mendelssohn: A Life in Music)  Moscheles' opus 87b (published and I believe also composed 1833) is the Moscheles/Mendelssohn variations. Not denying there might be a concerto too but perhaps without opus no. or with a different one. (Moscheles appears, Todd writes, to have edited the final product heavily, or one guesses so as Mendelssohn complained he hardly recognized a measure of the final version.) (Link.)

I have the Preciosa Vars. listed in my online discography of music for piano and orchestra.  It's been recorded commercially at least twice:

Mendelssohn, Felix and Moscheles, Ignaz (1794-1870)
Variations on a Theme from Weber's "Preciosa" for 2 Pianos and Orchestra, Op. 87b
Schwann VMS 2088:  Anthony and Joseph Paratore/RIAS Sinfonietta/Uroš Lajovic (arr. by Hans Priegnitz)
Turnabout TV 34821:  Martin Berkofsky, David Hagen/Berlin SO/Lutz Herbig (said to be the "first recording based on the original version", but I'm not sure about this based on Michael Cooper's claim below.  A hand-copied score was found in the Otillie Sutro collection that also yielded the Bruch 2-Piano Concerto.  Supposedly Martin Berkofsky then located most of the orchestral parts at the Library of Congress and copied the missing ones from the score).

According to Cooper, the manuscript of the orig. version played on May 1, 1833 is in the Scientific Music Library of the St. Petersburg Conservatory.  See other details in <http://www.thefreelibrary.com/Knowing+Mendelssohn%3A+a+challenge+from+the+primary+sources.-a0122914505>.  Cooper arranged for the 2009 world premiere of this at Southwestern Univ. and this can be seen on youtube <http://www.youtube.com/watch?v=54HMxZDzlJ8>.  See also the story at <http://www.southwestern.edu/newsroom/story.php?id=619>. The orchestration here is similar to that on the Turnabout recording; Jonathan Bellman reconstructed the piano parts. 

Perhaps some of the confusion regarding a 2-piano concerto composed jointly by Mendelssohn and Moscheles stems from the fact that Mendelssohn's 2-Piano Concerto in E survives in autographs by both composers.  Stephan Lindeman has written about this. 

Piano Concerto No.2 in B flat minor op.6 (1904)
Dedicated to Xaver Scharwenka
I. Allegro moderato e maestoso [attacca]
II. Adagio
III. Finale: Allegro risoluto.
Charlotte Perrochev, piano - Hannover Radio Symphony Orchestra conducted by  H. H. Jaris

Apart from the fact that No.5 dates from 1916 I can find nothing about it anywhere. Can anybody else help? Also, I can find no internet trace of No.2's pianist Charlotte Perrochev and conductor H H Jaris. Again, can anybody shed any light?

I believe the spellings of the performers' names are incorrect.  Maybe someone's handwriting was not clear.  Try Charlotte Purrucker/Hanover Radio SO/Hans Herbert Jöris.

The recording of the Ballade Op. 18 for piano and orchestra is the same as that on the old Olympia disk, which dates from the early 1960's. The recording is serviceable. However, the score and parts for this piece, which was re-orchestrated for the recording have disappeared. So now, even the re-orchestrated version is lost. I have made extensive enquiries in Poland and all have drawn a blank. The Radio station does not have it, nor the orchestra, nor the pianist, nor the daughter of the orchestrator - nor any library, it would seem. So this is all we have - unless someone transcribes it from the recording.
I expect the recording of PC 1 dates from around the same time.

Are you sure this is the same recording?  My Olympia CD lists the following performers:

+Olympia 306 [Muza 196]:  Barbara Hesse-Bukowska/Polish Radio Nat. SO/Jan Krenz

Acte Prealable CD 217 lists other performers:

Makowska-Ławrynowicz Krystyna, piano/Polish Radio & TV Orchestra in Cracow/Kawalla Szymon or
Straszyński Andrzej, conductor (I don't know who conducts the Ballade and who Piano Concerto 1)

The website says the recordings of the works date from 1984/1990.

A new CD of both Stenhammar piano concertos is out on Naxos (8.572259).  Niklas Sivelöv is the pianist and he plays the works faster than anyone else.  The first concerto, for ex., is 5+ minutes less than on the Chandos recording, and even the shorter second concerto is several minutes less.  Some may like that, others not.  The orchestra is the Malmö SO conducted by Venzago.

Comparison of timings:
Concerto No. 1:  41:43 (Naxos), 45:50 (BIS), 45:53 (Hyperion), 47:18 (Chandos)
Concerto No. 2:  25:50 (Naxos), 28:43 (BIS), 29:21 (Hyperion)

As far as I can tell, there are no cuts, just faster performances, on the Naxos.  Btw, Amazon now has this available for mp3 download.

I am often asked about a recording of Moscheles's piano concerto 8 since I list it in my online discography of piano-and-orchestra works.  It is true that Ian Hobson has recorded the work in his own orchestration (since the orchestral part is lost) and it will come out on CD.  Those who can't wait can hear a mono-only live performance broadcast of this at <http://www.archive.org/details/PrairiePerformances05-24-09>.  The Moscheles is right after the Mendelssohn in this 3-hour broadcast.  Enjoy.

I have browsed your discography with great interest, but could you tell us, please, what the various symbols (+, *, **, etc.) mean before an entry?

Many thanks.

Dear friends,

The symbols help me to know in which format I have a recording in my archive.  No symbol means I do not have it (or am not permitted to acknowledge that I do).  My online discography is a short version of what I maintain offline.  My full discography has information on multiple recordings, labels, numbers, performers, etc. 

If anyone has a recording of a work without a symbol before it, please let me know.

Thanks for all the posts and emails from members.  I have already learned of several works missing from my discography.

Best,
Allan

Hello friends,

I have just registered on this forum and would like to introduce myself.  I maintain an online discography of works written for piano and orchestra at http://www.siue.edu/~aho/discography/Discography.pdf.  In addition, I am building a sound archive of these works that now includes some 10,000 different pieces recorded for commercial release, broadcast, or private use.  I would be happy to hear from anyone who knows of or has a recording of a piano-and-orchestra work that is not listed in my discography.

Besides my discography, I have been involved, behind the scenes, in several recordings--e.g., the original versions of Stenhammar's  Piano Concerto No. 1 and Grieg Piano Concerto, and Alkan's music for piano and orchestra.  I also have published books on Russian/Soviet composers and Shostakovich.

I look forward to hearing from other members, some of whom I already know (e.g., Tobias B., Martin A., Martin E.).

Thank you,
Allan Ho
Professor, musicology
Southern Illinois Univ. Edwardsville  USA