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You'll enjoy them, I think.  I'm referring to the Mass in E-flat (Cantus Missae), Op. 109, and "Wie lieblich sind deine Wohnungen", Op. 35.

Now, off to Demetrius again.
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Addendum: and, having listened to it three times this morning, I now like it as is: bass drum, cymbals, descending chromatic scales, and all.  Well done, Joe!

I will revisit the symphonies soon.  Though we are straying off topic, this thread has revived my interest in Mr R.  Last night I listened to the Horn Sonata and the String Quintet, and browsing the record shelf reminded me of all his fine choral music.  Do you know his mass for eight-part chorus, or his setting of Psalm 84?  Great stuff. 

Demetrius arrived and I agree with your assessment, which sums it up well.  My only quibble was his excessive use of cymbals and bass drum.  It reminded me too much of Italian opera overtures -- Berlioz's criticism of this practice comes to mind. If you must include them, save them for a few key whacks, like Barber does in "The School for Scandal". 

It's a good work.  I have the Oliver Triendl & Co. recording on CPO, coupled with Enescu's 2nd Quartet.

Regarding Lauber, all six symphonies are available directly from Schweizerfonogramm:

https://www.schweizerfonogramm.com/en/cd/complete-symphonies-by-joseph-lauber-now-available/

So, what do you find appealing about it?  Hopefully I'll find out for myself soon. The only other overture I know is "Die Sieben Raben", which I like very much. 

I had hoped to publish it as my "...And the Gladiators" Overture, Op. 837, but now the cat is out of the bag. 

Somehow I missed this when it first came out (I have the Wallenstein/Sieben Raben disc), but it's now on order. 

Break it out and play it.  You won't regret it. (Of course, you'll need to break the shrink wrap...)

Oh my goodness!

David O. Selznick proudly presents...

SONG OF TRANSFIGURATION!

Starring Betty Davis, Frederic March, and Leslie Howard!

Costumes by Adrian!

Music by Erich Korngold Max Reger!
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Wonderful stuff.  Do you know his cantata Die Nonnen, Op. 112?  I have the Horst Stein/Bamberg recording from Koch/Schwann and have adored it from first hearing.  Like the Serenade, Op. 95 and Sinfonietta, Op. 90, these works show that Reger could write things with broad appeal, where you weren't bogged down in aural sludge.

More like aural fudge, but I'll take it.

I listened to Part 1 this morning. All in all it is a success. The vocal soloists are a bit too forward for my taste, but not excessively so, and the HIP orchestra doesn't lay on the HIPness much.  Like, they play like squares...you dig, Daddy-O?  And that's fine by me.

One of the things that really struck me while listening to it is how obviously it is by Raff. No other composer could have written this.  His style is as easily identifiable as Brahms or Mendelssohn.  Whatever accusations are made against him, that his music lacks identifiable character or has a generic 19th century sound is certainly not valid.

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Having now listened to the whole thing I was at first surprised at how low-key it was, which is really to its credit. Given the subject matter one might be tempted to write something bombastic and excessive, but Raff wisely avoids this.

The notes tell us the band is a HIP ensemble.  Hmmm.   Well, we'll see what that ultimately means when I listen to my copy tomorrow.   

You are right, Justin: well worth it.  And "booklet" does not do justice to the documentation; it's a full-fledged hardcover book. 

First-class in every respect!

I don't get into Wikipedia editing, but I think the last sentence of the plagiarism section of the Kauffmann entry should be changed from:

"The recognition of Kauffmann's symphony as plagiarism by Franke led to various similar identifications."

to

"The recognition of Franke's symphony as a plagiarism of Kauffmann led to various similar identifications."

...nor to my knowledge has this work yet received a commercial recording (unlike the quintet in D from 1926 on Hanssler.)

Actually, I have a commercial recording by the Ensemble Émigré on the Rubicon label, released in 2021.  It uses piano, violin, cello, clarinet, and horn.   

I believe my order went in within 24 hours of yours, so let's see to whom JPC gives priority.   

I never thought I'd see a recording of this.  And to think there are still candidates, like the "Volker" (Op. 203) suite or the Suite in A (Op. 210) for violin.  Still, something on this scale is remarkable.