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This is indeed excellent news! I just hope we won't have to wait too long for them to be released.

Perhaps some enterprising chamber group(s) would now like to investigate his chamber music, perhaps starting with his piano sextet!

Thanks indeed Mark. I have to admit that I must have missed this release completely, so I have rectified that shortcoming already! I don't usually bother with piano arrangements of orchestral works (solo or duet), but felt i ought to see what Richard Strauss does with Raff, and thus bought the score!

Others here may already be aware of this snippet of information/query, but I recently acquired a copy of these 2 marches in an arrangement for piano duet by none other than Richard Strauss. They have recently been reprinted by Universal Edition and are bear the opus number 127. The original full score as published by Aibl (which Universal took over), doesn't quote any opus number (see IMSLP).
When I opened my newly acquired copy, I noticed immediately that the first march is none other than the main march  subject of the 3rd movement of the his op185 Piano Concerto, which the orchestra plays before the piano's entry with a counter subject!
I'm sure the Raff afficianados here probably are aware of this, but it was quite a surprise to me, as well as the duet arrangement being by a young Richard Strauss!

IMHO, Raymond Lewenthal's performance is still the front runner, in spite of its age! I haven't listened to it recently - and perhaps I ought to, but the sheer excitement conjured up by Lewenthal's pianistic brilliance, coupled with a top flight orchestra, does Henselt the ultimate honour. I also like Lewenthal's extra reinforcement to the orchestra in the grand romantic tradition! He will be incredibly difficult to equal, let alone beat, in this landmark recording of one the best 19th century concerti, sung or unsung!

This is indeed an excellent CD! The only problem from a marketing perspective is that, at first glance, it gives little idea as to the contents - I nearly passed it by, but thankfully a closer inspection revealed some very interesting repertoire! I would highlight Heller's Caprice Symphonique in particular - a real virtuoso showpiece that one would not normally associate with this composer, better known for his didactic studies and shorter morceaux. The is plenty more to enjoy here though, and I have no hesitation in thoroughly recommending it to anyone interested in lesser-known 19th century piano music.

An altogether enticing collection. Although I haven't got this particular CD, I have all these works. I have accompanied my wife in a performance of the Op256 some years ago, and also accompanied a flautist in the flute version of the sonata. All these pieces are typical of Reinecke at his best - superb, attractive chamber music which deserves much more exposure!

The Czerny concerto is an time favourite of mine, ever since finding it on an obscure American LP back in the 1970's! I was also fortunate enough to attend a live performance given by Harvey Dagul and his wife a few years later. Yes, there are torrents of notes, but it is extremely well constructed for the medium. It can also be performed without orchestra for anyone interested, and it is great fun to play. It also has its more tender moments - try the development section in the first movement, which starts in the key of E minor, before some surprising sequential modulations which Czerny was most adept at! Altogether a most enjoyable work both to listen to and also to perform! It would surely bring the house down at the Proms!

I have just seen the booklet illustration for the first time, and notice that it describes the Sauer No2 as Op254! Of course Op254 is correct for Reinecke's 4th concerto. Sauer seemed to have ditched the use of opus numbers after a few sporadic early works!

I have just noticed this! https://www.jpc.de/jpcng/classic/detail/-/art/kovarovic-forgotten-czech-piano-concertos/hnum/11737628. Shame about the couplings, but I can live with it. The Kovarovic concerto was one of many that Hyperion perhaps should have taken up! I did mention it several times to Mike Spring in years gone by, but he never seemed to be interested.

Moszkowski's piano quintet probably predates anything else that we know of, and is incomplete - lacking a last movement. This in itself should not be a problem, though, if one considers the number of works that survive in varying stages of incompleteness| It is hoped that the quintet will feature in a chamber music CD at some stage in Toccata's Moszkowski edition. Although the original works for violin and piano have all now appeared on CD at least once ( a very early Stücke for violin and piano is indicated as lost), there are also the three pieces for cello and piano Op29, which have never been recorded!

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Why on earth must it take 90 years for such pieces to get performed? What a world of difference the general perception of classical music would be if more pieces like this were played, and with frequency at that! If only more performances like this happened with American romantic composers...

This is a never-ending problem that has beset classical music for many years. It is the powers-that-be in the classical music world that are responsible. Those that preside over our music colleges and similar instituions, broadcasters, record companies, concert promoters etc. The same old excuses are trotted out for wanting to stick to the same old hackneyed repertoire. Women, contemporary and ethnic composers are doing quite well in a very biased musical environment; but only because of who they are/were, and not in any related to their actual compositional acconplishments, and are lucky that "political correctness" on behalf of the musical establishment gives them a clear biased and envied advantage in achieving exposure. The music that members of this forum do so much to investigate and promote, could have a real positive impact on the popularity and interest in classical music in general if it is thoughtfully and professionally promoted by individuals who really know what they are talking about.

I have the score and part for the violin sonata. I was talking to the violinst Hideko Udegawa a few years ago as she was enquiring about obscure Russian repertoire that I had performance material for. I introduced her to the Svetlanov scores that I have, and she was very interested to make a complete Svetlanov CD, as all the pieces would fit nicely onto one disc it would seem! I haven't spoken to here recently, but she was hoping to get some sponsorship in place. This post has now prompted me to find out if this potential recording is still likely to happen - I hope so as Svetlanov's music for violin and piano is really attractive and well worth recording, especially the sonata!

Suppé's recently-discovered orchestral "Fantasia Symphonica" of 1859 receives it's world premiere recording here, coupled with more familiar fare as well as another premiere! https://www.jpc.de/jpcng/classic/detail/-/art/fantasia-symphonica/hnum/11689650

I have sent an email to the CEO of nilento records, Lars Nilsson. Hopefully someone will get a posotive response! It seems such a shame that such enterprising repertoire is suffering from such poor and ill-conceived distribution! Surely the label wants to sell as many copies as possible!

I have not come across Wladyslaw Pachulski before, but I note that he was the older brother of the much better-known Henryk, the composer of much attractive piano music. Will certainly obtain this curio then!