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Dear friends, I would plea for the new system (of course, I have to). We will present the reconstructed version of the c minor symphony no. 3 on November 24 (Mals) and 25 (Innsbruck). Since there is no indication for the dating of the three movement fragment in C major, which is for piano 4hands and appears to be a sketch only, I would suggest to exclude this from the canon.  Meanwhile, I have published the announced complete worklist, which will be available online soon. And we have already decided to adopt the new system for our November concert and the forthcoming CD release. The RISM data is old and, in this case, outdated.

A DVD has been released and will be available soon. But I am quite sure that it neither contains an English summary nor English subtitles. But I haven't seen the DVD yet, only the film (German version).   

I have the overall impression that this forum is clearly concentrated on instrumental music. Any fellow Lieder addicts here?

Well, I think an online publication of the catalogue would be the best way to guarantee spreading... articles of scientific value, a new task for the Unsung Composers Forum ...   

Some news for the Rufinatscha fan club:
This saturday the school of music in Mals, Rufinatscha's birthplace, will be renamed as "Johann Rufinatscha-Musikschule". On this occasion a festschrift will be presented. It will contain a short biography, an updated and complete catalogue of his works and a discography.
On Saturday evening Marlies Nussbaumer will play some of his compositions for solo piano in Mals - and the same in Innsbruck on Sunday.
And finally: The documentary film on Johann Rufinatscha is finished, it will be shown as a prologue to the concert in Mals on Saturday rvening and also in the orchestral concert with the c minor symphony completed by Michael F. P. Huber and the concert arias in Innsbruck, 25 Nov.

Well, Peter1953, I agree that Rufinatscha's chamber music often shows originality and highest quality. And of course, not all his works are sombre. But I still believe that the composer had a strong inclination to tragedy, drama and dark colours. If you take his piano works and Lieder, for example, he was very fond of the deepest possible register of the piano.

Grateful thanks for all these valuable comments! I would like to refer to the thematic allusion to the "Jupiter" symphony. The c minor Symphony - no. 3, which will be performed in autumn - starts with a theme which is almost a citation of the opening of Mozart's c minor piano sonata KV 457. And there is a recurring second theme which seems to be directly taken from Beethoven's Coriolan overture.
And a short reply to Alan Howe's statement: I agree, abolutely. The b minor Symphony is really highly original, especially if you keep in mind that it was composed in 1846. It would be interesting to compare all the compositions on a symphonic scale dating from about the same times - and you surely know more of those "Unsungs" than I.
There is a last observation from my side: I have an overview of all extant compositions of Rufinatscha. He had absolutely no talent for "small" and "happy" stuff. Everything is broad, solemn, tragic. That's what he also brings to the symphonic genre. He does not laugh in his music - not even in the Lieder or his piano music.           

Alan Howe, thanks for distributing the news. I would be very grateful for comments concerning my assumption that the D major Symphony (Nr. "6" or correctly Nr. 5) is more likely from c1852. I can find no arguments against this thesis - does anyone have? Anyone who can convince me that the D major Symphony sounds like an "Alterswerk" from the 1860s, different from the B minor work?  To me, the B minor Symphony is thematically more original and formally more convincing, the opus ultimum is somewhat lengthy (does this word exist in English?) and definitely not Rufi's symphonic masterpiece. And what do you think: I do NOT agree with Manfred Schneider that this symphony brings a new solemnity or gravity to the 19th-century symphony,  foreshadowing Bruckner. Bruckner is SO different, from the very beginning!). I have always felt that Rufinatscha is formally quite conservative and that he seems to follow the path of Schubert ("Great" C major Symphony) with a portion of Beethoven and some effects in instrumentation resembling Berlioz. What do you think?
Greetings from Innsbruck and many thanks for your comments!   

Many thanks to the Rufinatscha fan community for their valuable comments! It is a pleasure to read that our recordings are discussed intensively. Greetings from Innsbruck!

Dear English friends of Rufinatscha,
As one of the people responsible for the Tyrolian Rufinatscha concerts and recordings I can assure you that Michael FP Huber's reconstruction of the wind parts of the C minor Symphony will be subtle and technically accomplished, as far as I know the composer who has considerable skills and extraordinary craftsmanship - and of course he will take the complete symphonies as a model. By the way, I have some brandnew information on the amount and chronology of Rufinatscha's symphonies - a scientific article on this topic is in preparation. And, by the way: The concert with the performance of the C minor Symphony is in November - the CD will not be available earlier than 2013. The next weeks will see the publication of a box set of 3 CDs with Rufinatscha's piano music by the label "Musikmuseum" (available worldwide through amazon, jpc etc.) and a performance of all his Lieder - excellent compositions, as I think (4 May, Innsbruck, 5 May, Mals, Rufi's home village). All these activities are parts of the festive program honouring his 200th birthday...