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[Mere tonality, without strong elements of these other characteristics, does not qualify music as being romantic in style.]

...a pan-tonal harmonic treatment that nevertheless suggests a discernable tonal center.

Just a quick reminder from our definition of 'romantic':

Overall, though, music of the romantic era still shares recognisable attributes: the restrained employment (if at all) of dissonance, a reliance on 19th century models of harmony and construction and the fundamental importance of melody. Mere tonality, without strong elements of these other characteristics, does not qualify music as being romantic in style.(emphasis added)

We have highlighted this distinction on many occasions in the past, so we would once again plead for caution in posting concerning music which does not fit here. The mere fact that Sowerby's 5th Symphony dates from 1964 should also give one pause for thought...

As an aside: this CD of Sowerby's music suggests an attractive idiom, but certainly not a romantic one:
http://www.amazon.co.uk/dp/B003H3H9BA/ref=dm_cd_album_lnk

The original version dates from 1853 so, as you surmise, it's too early...

[Ottakar Jeremiáš]

Thanks, Mike.

It looks as though the following might be of particular interest to us here at UC:

Ottakar Jeremiáš (1892-1962)
Symphonies Nos. 1 (1910-11), 2, Op. 30 (1914-5)

Karel Boleslav Jirák (1891-1972)
Symphonies Nos. 1 in C minor, Op. 10 (1915-6), 2 in F major, Op. 25 (1921-4),

Rudolf Karel (1880-1945)
Symphony in F minor (1904, lost), Symphony in E flat minor, Op. 15 "Renaissance" (1910-11), Symphony in D major (1917, lost), Symphony for Violin and Orchestra, Op. 20 (1914, rev. 1924),

Jaroslav Křička (1882-1969)
Symphony (No.1) in D minor "Spring" (1905-6, rev. 1942)

Jaroslav Kvapil (1892-1958)
Symphonies Nos. 1 (1913-4), 2 (1921),

Vilém Petrželka (1889-1967)
Symphony in 3 Movements, Op.13 "The Eternal Return (1922–3),

Toskey decribes the VC as "very melodious, employing very melodious chromatic modulations, and is of very bright cheerful disposition....The solo is very easy to execute and plays brilliantly at sight."

My copy of Toskey's book dates from 1983.

Fantastic news! I wonder whether the soloist is Sergey Levitin, as on the new Widor CD?

A further listen has actually increased my appreciation for this grand concerto. Strangely - or perhaps not - I was often put in mind of Elgar, and certainly of Chausson, but overall I admired its passion much more this time.

My reason for choosing the Violin Concerto is B.R.Toskey's positive assessment of the work in his Concertos for Violin and Viola: a Comprehensive Encyclopedia. However, I would be happy with any combination of works on two separate CDs as I would buy them both...

Thanks, Lucanuscervus. It would be of great interest to hear the views of an expert on the stature of Rufinatscha's symphonies. Wenn auf Deutsch, würde ich gerne übersezten!

To me Beethoven is the stronger influence, although the expansiveness is definitely more Schubertian.

I can only call to mind Fibich (only his 3rd post-dates Dvorak 9) and Novak (does his May Symphony count?)

There are no plans that I know of, Tom.

Me too. But since there's no apparent sign of that, let's encourage Aramiarz and his team in Mexico...

Unpredictability is the name of the game with Rudorff 3...

It simply doesn't have the melodic content of the VCs you mention, Jerry.

Oh, that's great news. Very kind of you to let us know, Kevin. Thanks!