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Grizzly would involve a bear. This just sounds gory...

Speaking of M. Weinberg's Mendelssohn-and-others-quoting trumpet concerto, it will be on next Thursday on BBC - http://www.bbc.co.uk/programmes/b00rd8lj

Re Mosolov again (sorry!) : the works on the disk are the cello concerto no. 2 from 1937-5 and the symphony in E from 1944 (http://www.mdt.co.uk/MDTSite/product//NFPMA9978.htm ).
I'm also glad to see so much Myaskovsky in the series and hope the performances compare favorably to others that exist of the same works. Perhaps they'll take the opportunity of a future release to record "Kirov is with us", another wartime Myaskovsky work- probably requires considerable outlay though.
(I also hope a future release will contain something along the lines of Evgeny Golubev's symphony no. 3 of 1942 (rev. 1974), say, and/or the piano concerto no. 1 of 1944 (once recorded by V. Bunin apparently); one can always dream. I would say symphony 5 but its 1960 date is well outside of the Wartime Music's considerations. Though a new recording of that work, or even a reissue, would be welcome anyway.)
Eric

Modern euphonium concertos come to mind, too?  Gordon Jacob's 1969 Fantasia, and others.

My understanding is that this will be in the public domain, since it is only a new edition of an out of Copyright work.

I think IMSLP have learned their lesson from the UE affair and are unlikely to let something similar happen again.

Thal

That doesn't mean it doesn't sometimes take them awhile to find and remove etc. In this case the work itself was first published 1888, but I don't know how much editing went into the new edition so far as copyright law might be concerned in different countries (horrible grammar, I know). Better to scan the original edition to be safe, imhonesto...

I gather the bayan is very similar to the accordion, and has several concertante works written for it by Sofia Gubaidulina-
Eric

British Library Reference Collections apparently has an "Andante and Allegro from the 1st concerto in D for the concertina" by Regondi, but Worldcat says nothing about the scoring? (actually, going to catalogue.bl.uk directly adds &piano. Ok. Published around 1855. Exists in two records, one mentions piano, one doesn't.)
They also have a Beriot concerto (his 1st) transcribed by Regondi for the concertina, and this andante and allegro may be from _that_ work, not from a concerto written by Regondi (I forget, is Beriot's first concerto in D? Well, it might be from someone's work transcribed by Regondi. Hrm. Probably not the Beriot, anyway- which seems to be in one movement?) and the title may not disambiguate enough... sigh. Still, seems unlikely- I would put in a guess for its being an original composition.

Hi all

As far as I know, only two romantic-era concertos for the accordian or concertina were ever composed. Both by one of the most underestimated composers of the 19th Century, Bernhard Molique  (1802-1869). His Concerto no 1 for Concertina and Orchestra in g, op 46, dates from 1853. It popped up on Australian radio in 2002, possibly because some bright spark realised it was the boicentennary of his birth. A really charming work. Have no idea about the recording details. There is some info about it (and Molique's unresurrected no.2 from 1861) on a couple of instrumental chat sites.

regards
Peter

No, I think there's a third, by Giulio Regondi?

Pity. Do you know if there ever has been a recording of the Novak?

Magali Mosnier's 2006 Sony recording of the Chaminade concerto (so described on the recording??) will be broadcast on Radio Swiss Classic (www.radioswissclassic.ch/en  - has multiple web streams) early (7:21 CET) the 13th of March, also on the 18th and 24th.  If you can catch that, that may be the easiest way to become acquainted with the work (I haven't yet myself.)
Eric

Fair enough, though I still recommend the Holmboe concertos for those two instruments for fun (there's much brio and much to remember in the tunes of these two works, I anyway find-- *g* if one's tolerance runs to melodic middle-period Stravinsky, which Holmboe at that time sometimes sounds a little like- a little. Or maybe more like middle-period Bartok? Hrm. Not much harmonic aggressiveness in these particular works, unlike some other works by this composer- at least, not by 1950s standards.) There are three recordings of the trumpet concerto to choose from, too (counting the Surinach-conducted LP).
Apparently Maxwell Davies has written a trumpet concerto too. Not sure how many of these have been recorded commercially; I know the piccolo concerto only from a BBC Radio 3 (that maligned station) broadcast. I see it did receive a Collins Classics recording in 1998 though.
Trumpet concerto, btw, makes me think of Bernd Alois Zimmermann and "Nobody Knows the Trouble I See" (I think?), a work I need and want to listen to, and will soon. Definitely modern but I expect from what Zimmermann I have heard, hardly without point.

No mention of Druschetzky and his concerto for oboe and 8 drums with orchestra? Or did I miss it? Squarely in the Romantic era...

Ah. I was under the impression Hyperion was using a published edition, not an in-house prepared edition. Should have done my research. However, a worldcat.org search "delalande sawkins" reveals only articles and internet resources (musicological work by and mentioning Mr. Sawkins) and Harmonia Mundi CDs, nothing else.  I was mistaken!

Hrm. A thought only...
Symphonies that involve unusual solo instruments (Brian's Gothic Symphony with its call for many an unusual instrument, starting with alto flute, is coming to mind), are at least a little more common than concertos for unusual instruments, perhaps because to generalize  and overgeneralize --
concertos are written for a known soloist, often on commission if the soloist is not the composer; touring alto flute-only soloists rarely start out for want of non-transcription repertoire, so this problem tends to feed on itself. (That Christian Lindberg has expanded the trombone repertoire speaks well of him, I say...)  Symphonies are also often written for an intended performance or at least a known orchestra, but at least a little less often.
Ah, I need to check if anyone's published to this thread a list of piccolo concertos yet, that makes me wonder, and English Horn concertos? They're not rare instruments, and no longer rare for concertos- but rare compared to flute and oboe concertos (much less violin and piano concertos).   Recently listened to Peter Maxwell Davies' piccolo concerto, which is a good example of the more accessible side of his style, I think, and there are others mostly baroque, modern but I know of few inbetween?
(Likewise for harpsichord concertos - again not all the modern ones are modern_ist_, e.g. Quincy Porter's concerto for harpsichord is maybe more neoclassical- not sure if that describes it well either. Poulenc's and de Falla's concertos are better known, of course.  Concertos from eras inbetween for that instrument- well, again... lack of soloists before Landowska etc.?)
Eric

When you have a composer with as variable in style an output as I gather Mosolov had, or Roslavets, or Stravinsky (most notably), etc., to "like X" begins to lose some content anyway... or it should.

Offtopic: I'm probably the only one here who does think Hyperion was at least partially "at fault" - failing to recognize the editor's reasonable copyright claims on his work realizing the delaLande (if they want an edition without paying for one, create their own from the publicly available manuscripts, imhonesto; it does involve a degree of creative work to realize continuo, which was one of the issues, and creative work in Britain is where copyright at least begins. I think the consensus as I understood it was however that Hyperion's failure to consider even negotiating with the editor, though, was their undoing.)