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BTW Adriano, I've been told Tassie's Myaskovsky biography is shortly to be issued in a paperback version, which we can probably safely assume will be cheaper (for our successors).

I read Maxwell's dissertation myself online some time ago, BC, and found it fascinating in the "deconstruction" you refer to, which discounts much of the standard lore about Moeran (aspects of his early life & the effects of the War, for example) brought together most accessibly by Geoffrey Self in his own book on the composer, which however focused more on musical analysis than biography.

In talking about his new volume Maxwell has said "after graduating with my doctorate in 2015, I continued my research into the life and work of Moeran, and was able to uncover substantial additional evidence that has both added to and superseded the conclusions reached in the PhD thesis - some of which is now obsolete.  I hope that the forthcoming book will clarify much of Moeran's life for those still clinging to the extensive mythology, and will interest others in a composer whose full significance in British music is only now beginning to be revealed."

I expect much of the dissertation will be reproduced in the book, then, but significantly restructured with elaborations and corrections, - and I hope better literary quality (the original thesis had a forensic tilt to it that reads like a court proceeding).

About to be published or perhaps already available are two new biographies of composers among my own favorites even if never given much attention by UC participants:

Ernest John Moeran: His Life and Music by Ian Maxwell, &

Nikolay Myaskovsky: A Composer and His Times by Patrick Zuk, -

both issued by Boydell Press in the UK (and not an inexpensive proposition to acquire).

Has anyone here had a look at these, or know where excerpts might be available?

On my level I dread Composer biographies overtaken by musicological technicalities and minutiae, but rather prefer a more personal and historical orientation, where any musical description and analysis is integrated into the story, not the center of focus in its own right.  Without a willingness to make potential costly mistakes in regards to these two volumes (whatever my enthusiasm for their subjects), I await reviews from others more impulsive and/or affluent.

Having done the YouTube comparison you suggest (in regards to Symphony 1 only) I agree with your assessment.  Schmidt/CPO DO manifest greater "weight and intensity" than Hughes/DaCapo, the sound is richer, and the playing more refined.  Even if the difference is more than marginal it's not a blowout, - Hughes & Aalborg bring the work across decently enough.  But based on my initial listen of at least Symphony 1, I'd choose the CPO also if I was acquiring just one.  As for the music itself, it held my attention even if nothing truly special.  Perhaps Symphonies 2&3 will be more individual and accomplished, as I'd expect.   

OK, - so not better interpretively then.  It's in regards to that I'd expect a bit of elaboration.

I'll take a superior interpretation over better sound and playing (within certain limits) almost always.

Everyone says "better", but nothing about why.

Quite by happenstance I listened to the entire Brun Cello Concerto on YouTube a day after it was posted there and liked it so much I immediately purchased the CD.  This is a good thing, no?  Had I not been able to hear the music (not just a sample but the whole piece) there is no way I would risk $20 on the completely unknown.  What I describe has been duplicated dozens of times by me, and all to the financial renumeration of the composers, artists, and record labels Adriano advocates for.  Isn't this the bright side of a phenomenon everyone here seems to unqualifiedly castigate? 

How much was Vanska being paid?  Anyone know?

I was about to say Bittner's Piano Trio had been commercially released on CD some time ago and was an attractive work, but at the last moment realized I was thinking of FRANZ MITTLER.  No scoop after all.

Actually, Centaur have pipped Toccata to the post with this CD which features Ashton's Second Cello Sonata. A fine work IMHO.

Mark's on record as considering Ashton's 2nd Cello Sonata "a fine work".

Given Alan's apparently middling and declining regard for the piece, and the fact that he and Mark typically move in lockstep together, I wonder if Mark would still affirm his initial unqualified judgement about Ashton's Sonata, or might have developed reservations of his own?

Combine with Jerry's & MusicWeb's relative indifference weighing too against Peter's superlatives,
if Mark should express some hedging now, this work might fall away for me as an acquisition prospect right into neverland.

MusicWeb's reviewer (Nick Barnard) of Toccata's Ashton cello music CD was decidedly unimpressed, - and even rather dismissive.  Would any enthusiasts here care to intelligently rebut his impressions/reflections?  I'm just a bit more wary now than after reading all the extravagent praise, - though will ultimately, of course, decide for myself.

Thanks for notice of this.  A very nice roughly contemporaneous (and traditional sounding) Requiem by Lithuanian composer Ceslovas Sasnauskas (1867-1916) was recently uploaded
by a poster on the Art-Music Forum.  You might want to have a listen.

Let's just cool the discussion, please, and allow Jim to report back as and when he is able.

OK with me, - but could someone explain the secrecy?  What's at stake if we discover who Jim's referring to?  Would we be blowing some risque cover, and this person will be ridiculed and/or ostracized for trafficing in contraband composers if it gets out she's reading scores and listening to recordings?  What Jim describes is probably utterly common among conductors and musicians.
Who among them wouldn't love to perform and/or record unsung works they're familiar with, that they believer audiences and listeners would relish and enjoy, however unfeasible the prospect in most instances.  It's a curiosity to know about Jim's experience and who he's communicating with and about what.  But I can't understand what the scoop is here that should make us reticent about an unveiling outside some carefully choreographed time and place.  Just wondering .

OK, - without guessing whom, is this a person you've had prior contact with and communicated about the matter together,  or just someone you've heard has an interest in neglected repertoire and decided to send them scores and recordings unsolicited?

Apart from that, I just can't see any major American Orchestra programming music of the kind we discuss here (if that's the prospect you're suggesting).  It's not going to happen. 

Are there any women conductors of major U.S. city orchestras beyond Marin Alsop (Baltimore)
and JoAnn Falletta (Buffalo)?  I don't think so.  Must be one or the other of them.