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Theodore, are you cooperating with Bartje Bartmans recently? What are your newly discovered recordings aside from what he has uploaded?

Also I don't think anyone's mention the other Alfano recording they just released?

https://www.naxos.com/CatalogueDetail/?id=8.574533

I did, so the topic resurfaced!

Now there are some new orchestral music by him on naxos, including Suite romantica and Divertimento for Chamber Orch w/ Pno Obbligato

from the late 1850s (IMSLP) to 1882/1883 (German Wikipedia)

There's the problem of giving a composition date or a publication date. I think for most of his compositions, the dates from 1880s and 1890s are publishing dates.

Back when I was attempting to compose, I remember hearing one of Beethoven's cello works in concert, had never heard it before, rondo tune stuck. I soon forgot who wrote it and some years later (just) started  writing the opening of a piano quintet on a very similar theme, thinking it mine (after checking it wasn't by the composers who it brought to mind. Then I heard the Beethoven on the radio and that was that. So yep.

I've experienced that, too. I unconsciously took the opening phrase of Halm's Symphony, slightly adjusted it, and used it as the theme in a piano sonatina. Fortunately not too long after that I realized where I got that tune from.

I have the score of symphony no.3 in D-flat major (finale in, and ends in, in C# minor) on my table borrowed from U. Houston.

The third one is really amusing. It borrows from Schoenberg's Pelleas a clarinet passage not long into Mov I, and the beginning of Mov II is entirely from Busoni's PC.

II never knew Lange had composed one.

Maybe you are thinking about Gustav Lange. But this Lange is a totally unknown Julius

After somewhat enjoyed Senfter's PC I returned to Reger PC Mov I (I don't have many problems with the latter two, especially the second one), and still can't quite stomach the latter.
I feel Senfter in her PC made chromaticism somewhat gorgeous, decorating it with occasional consonant "oasis", though surely not up to the grade of Scriabin or Szymanowski, and the slowish and meditative overall tempo helps, although there are tropes of "chromatic sludge" like a tritone step after a semitone step.
Reger in his Gesang de Verklärten exhibits his gorgeously chromatic mode,  but in his Mov I of PC he literally climbed up and down the chromatic scale. It is empty like the introduction/Melisande theme of Schoenberg's Pelleas. But Reger did it with so impetuous a tempo that it is not only boring but also endless.

I find it a bit more tolerable than Mov I of Reger's PC...

I'm sorry to say that I find Senfter's relentless, shifting chromaticism virtually unlistenable for any length of time

I listened to her Clarinet Quintet a few months ago and have the same feeling. She inherited the worst traits of Regerite chromaticism. It is aimless and empty, instead of angular.

The sonatinas are available for streaming on Piano Works, Vol. 6

thank you for your new information Theodore. We are closer to the truth!

Mackenzie's Prelude to Colomba? Oh, no! I ordered a disk with that work by Bostock (presumably the then only recording) just a few weeks ago, and now I'm tempted to have this one to renew my Delius collection!

This was already available for streaming. Really weird.
The Boulanger Fantaisie varie used here is the new 2022 edition. Makes it the CD Premiere of the new edition (though live concert with this new edition has been held). The publisher says that after comparing with the orginial score used in Pugno performances, there are 4 cuts restored (and original dynamic indications), presumably obvious ones. I found out 3 changes (if not all of them restored cuts) after rough comparison.

Also, RPC's Hahn PC Toccata is lax. I listened to the Maguelone one. The Toccata in this recording seems to be faster than that in the Maguelone one, though haven't listened to the latter for a long time.

If the Faure Ballade could have been substituted by the Tailleferre one, I would be more excited. I'm not a big fan of the concertante version of the Faure Ballade. The strings that relieves some of the piano's melodies just made some originally glistening and agile piano passages duller and clumsier. Considering that the original proposer of the orchestration is Liszt, I think the "dullification" is somewhat justified, because he dared to add a totally unneccessary introduction when "concertantizing" Weber's l'Hilarité...(just kidding, the one responsible for it of course is Faure himself!)

Napravnik's concerto symphonique is non-traditional but still Romantic... (and the composer is Czech/Russian, but still.)

Yeah, I totally forgot about this one. This is definitely more romantic than the Classical-oriented Dvorak one. Though it gave me a lightweight impression.