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Just for the record: Anton Foerster is Josef (Bohuslav) Foerster's uncle.

Great news. I wish Dacapo also would record Launy Grondahl's sole symphony.

... a historical recording of which is available on Danacord with the composer conducting:
https://www.jpc.de/jpcng/classic/detail/-/art/das-launy-groendahl-erbe-vol-2/hnum/10431601
The description gets it wrong of course (must be Symphony Op. 9, not No. 9).

Or you just use the links jasthill kindly provided...

Thanks for the link! Very welcome! Maybe at some point we will get a recording of the remaining four of Vasilenko's symphonies. Time will tell...

Regarding the YouTube videos, it is a sort of a pity that they are so poorly indexed: which works are contained, when do they start, who are the performers and so on. Of course, all of this is possible to find out with some research, but it would be much more convenient to have everything at hand from the beginning on.

It's less an issue of cuts but rather of retouchings e.g. with respect to the orchestration. Please read Christoph Schlüren's MPH preface for some details (at the end of his text):
https://repertoire-explorer.musikmph.de/wp-content/uploads/vorworte_prefaces/1694.html
and Tobias Bröker's explanations on his typesetting of Büttner's original score:
https://www.tobias-broeker.de/newpageb5193fd1
In other words, there is definitely room for substantial differences. Of course, I do not know about the background (and the version used) of the Ward recording myself either.

Just as a sidenote, maybe guys here have already heard about Tristan Foison, a story which has at least some parellels with the Franke issue. Tobias Bröker has worked on his case:
https://www.tobias-broeker.de/tristan-foison-vc

Just as a quick answer, without having done any further research myself so far: the Almansor suite is also available on YouTube:

with the composer given as Fritz Behrend (1889–1972). Also see here. I would assume that he should be the actual composer of the music you uploaded – further confirmation is due, of course, these are just my spontaneous thoughts.

Thanks a lot for the research, Greentiger! Really fascinating in many regards: an unexpected solution to this problem, a clever way of finding it out and a composer new to me. Great!

I prefer a 'both-and' approach rather than 'instead-of'. Why should one choose? Besides F2 in Barenboim's recording is an absolute aural feast...

Exactly my thoughts as well: it should rather be 'also to listen to Wetz and Scherber'. No need to play off these fine composers against each other...

Many thanks for the links, Rainolf! As you know, I bought the score (or rather the piano reduction) of Zilcher's Konzertstück many years ago in a music store in Eisenach and tried it out myself a bit. However, so far it seemed it was never recorded. Great to have the chance to listen to a performance now!

As to 17 being clearly in D major, I'd be cautious though, as I've tried to judge works' keys from broadcasts and failed to account for the sort of thing that can make a C-sharp minor work e.g. -sound- a half-tone off...

Eric, having listened to tons of broadcast recordings and LP transfers myself, you can be sure that I am well aware of problems of this sort, and I do take them into account. In the case of LPs, it is typically a question of an incorrectly adjusted turntable, while in the case of broadcasts, it's often about aging tapes / cassettes. Even then, you can still make a sort of educated guess without a score at hand, for instance if you are able to identify open strings.

Anyhow, the Cuclin broadcast is from internet radio, which doesn't mean of course everything is 100% waterproof but nevertheless such problems appear much less frequently. It's not the only reason for identifying the symphony as Cuclin 17 anyway – "with (very) high probability", if this helps...

As for the work itself, while still watching out for Cuclin updates, I am afraid I am mostly with Alan.

Well, I for my share can enjoy it the way it is, even with a slight smile here and there, which I would not say about Wilhelmj-Raff. In fact, we shouldn't forget it's a work from 1912 (and if Terry cannot stand the excerpts from the first two movements available at Presto then it's rather more linked to the music itself). Same year as, for instance, Gernsheim's Violin Concerto No. 2, which also employs a glockenspiel here and there. Still a matter of dose, of course, and Link certainly overdid things (maybe even on purpose, I assume he might have aimed at highlighting certain aspects). Anyhow, it is a mild curiosity but not as much as I would have thought based upon reading the comments.

It seems to be a reissue of the old CD, so yes, it must be Link's orchestration, which is however neither modernistic nor horrible (just maybe not completely idiomatic).

In fact, the issue has been discussed several years ago right here:
https://www.unsungcomposers.com/forum/index.php/topic,3545.0.html
At the end I also wrote a bit about Joachim-Dietrich Link.

Later in his life, Langgaard felt very much akin to Gade as documented in this interview:
http://www.langgaard.dk/litt/interv/etdramae.htm
and the classicism of many of Langgaard's later works does mirror this in some sense. However, the Third is an early work, and at least in terms of music Gade does not play a major role here. Whether the scoring is influenced by Gade is a different question, it could of course but on the other hand Langgaard was kind of an eccentric (mildly put) all over his life, so he did not necessarily need a role model for an unusual scoring, labeling or whatever sort of artistic decision.