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Well, I only found this site today, but I might as well introduce myself. I'm a 40-year-old teacher living in Japan, so here I have virtually no friends with any knowledge of British music. I have been a big fan since I was in my teens, at that time Elgar, Sullivan, Vaughan Williams and Havergal Brian dominated, but I have branched out to anyone starting from about Cipriani Potter up to about 1960, with a slightly reduced interest in more recent people. One of the fun things about being into this music for so long is seeing works that one has waited to hear for twenty years come out, an experience one cannot have if one is into pop (as you don't know the work existed beforehand) or mainstream (as 200 different recordings already exist). Currently basking in the joy of Robin Hood, McEwen and the new Dutton releases.

The work had definite shades of Sullivan, but not so much the Sullivan of 'Ivanhoe' as of 'The Foresters', (which of course stars Robin Hood himself). The Act II number 'There is no land like England' in the Sullivan is almost self-consciously similar to 'Englishmen by Birth' are bold. To my ear, at least. Anyway, what a great release: Naxos don't do that many British operas, but they've chosen some gems lately: Tom Jones, Lurline and now Robin Hood. 

I've really been enjoying the recording and all credit to the company for reviving an opera unperformed since 1838: it must have been a mammoth task and the work well deserves it. I do hope we can get a revival of The Rose of Castile of The Siege of Rochelle sometime.

Bantock wrote a couple of pieces for cello and harp, a lovely combination (available on Dutton). And Elgar wrote a brief Duett (sic) for double bass and trombone.

That's a really useful post, thanks a lot. I've traced the Lyrita Macbeth recording (coupled with, among other things, David Morgan, which surprised me a bit, bit like the Holbrooke/Bennett Dutton release). Looking forward to it.

What a disgrace that Delius is so treated. In any other country he'd be performed regularly. The neglect of the operas is especially sad, as opera can only be properly appreciated in performance on stage. Still, good to see these box sets.

Thanks, I'll give it a go.

I think a great idea. Categories could be Best new recording, composer of the year, most enterprising conductor/soloist. Maybe best second recording, always something hard to achieve for neglected composers.

I have to disagree with a lot of people and say I really like the new viola concerto. The central 'grazioso' movement is a welcome change from the endless central slow movements of string concertos everywhere or the fast ones of Walton's works in these genres. Very pleased to have this, plus the Vaughan Williams ones, which are always welcome.

Very pleased with 'Robin Hood': I've always liked 'Chevy Chace', though I must confess to finding the CPO symphonies fairly lacklustre. It would be good to hear more, though. If the last couple of decades and the rediscovery of, say, Stanford and Holbrooke is that one can't believe the sweeping statements made by musical historians about neglected composers whose work they've never heard.

I've been intrigued by Pearson since hearing the wonderful Hyperion 'Victorian Concert Ovetures', which included his 'Romeo and Juliet', two decades ago. At that time many of the composers represented on that disc were almost unheard elsewhere (Mackenzie, Macfarren, Corder and Pearson), but since then Macfarren and Mackenzie have seen some new recordings, but Pearson (and, for that matter Corder) has remained unheard, beyond a couple of songs. Does anyone know much more of this composer? It strikes me he was a radical at a time of conservatism (Macfarren, Loder), but has not quite been forgiven for going to Germany. Ripe for revival or best forgotten?

I've loved Lloyd since my teens and was lucky enough to have corresponded with him. Recently I reacquainted myself with the symphonies and discovered the glorious concertos and choral music. The Requiem and the Cello concerto are amazing for a man in his mid-eighties. The former uses only an organ, not orchestra, yet sounds as full as Faure or Verdi (with a slight hint of African choral singing in the harmonies) and the latter deserves to stand beside the Elgar as a romantic concerto. However, despite all the recordings, Lloyd's reputation seems to sit only on Amazon: I never see his CDs in Tower Records (unlike, say Havergal Brian, who has his own named section in my local branch), and I think people are *still* embarrassed about liking him. I can only hope for a recording of 'The Serf'

I think it's becoming clear that the renaissance started gradually, maybe in the 1820s and 30s, with the rise of Potter, MacFarren (who seems to be making a comeback), Sterndale Bennett, Balfe and Wallace, and also with events like the founding of the Philharmonic Society and the RAM, and even the creation of the first musical knight, Sir Henry Rowley Bishop, in 1842. Sullivan then represented the next phase and highlighted how much people hoped for an 'English Beethoven', while Parry, Stanford et al. brought British music up-to-date with the continent.

I am very keen to hear some more Cowen. While I agree that there are thin moments in the symphonies I've heard (ie 3&6), there is much that's beautiful in them, especially in the 6th. I bought that disc to hear the Coleridge-Taylor, but ended up listening far more to the Cowen. It would be good to hear the 4th and 5th. Personally I find Parry's symphonies a lot duller, apart from the 5th, though I love all of Stanford's.