Taubert and Rosenhain from Hyperion

[Alan Howe]

Vol.51 in Hyperion's RPC series, containing PCs 1 & 2 by Taubert and the PC by Rosenhain, is slated for an August release...

http://www.hyperion-records.co.uk/al.asp?al=CDA67765

[Rob H]

YEAHH!! Thought we'd have to wait till November for this next installment. I've been looking forward to this if only for the reason that this is completely unknown territory.

[Jonathan]

Likewise, just had a listen to the audio exerpts on Hyperion's website and it sounds rather good stuff! 

[thalbergmad]

If it is true that sales from the more popular concerti help fund the more obscure, I say record the Grieg.

Thal

[eschiss1]

I am a little surprised (not displeased, just surprised) that with his first piano sonata and first cello sonata already available online in downloadable score and parts (and a few other works too - the piano sonata at a German site, the others at IMSLP), the first work of scale of Rosenhain's to be recorded (I think a brief piano piece has been also) is his piano concerto.  It often works the other way around, I thought (ok, Stanford and Parry aside? Hrm. ...)
Eric (edits made (to "a cello sonata", etc) now that I'm a little more familiar with Rosenhain's published output, with 3 piano sonatas and 3-odd cello sonatas, counting at least one that can be played, like some of Wilhelm Taubert's too, on either violin or cello - 5 Jan 2012.)

[JimL]

If it is true that sales from the more popular concerti help fund the more obscure, I say record the Grieg.

Thal

According to a concert pianist online friend (and occasional poster here) it is becoming harder and harder to book former regulars like the Grieg and Saint-Saens piano concertos with major orchestras.  I pointed out to him that I've heard the Egyptian Concerto live at least twice within the last decade (once at the Hollywood Bowl, once in Thousand Oaks with the New West Symphony), but it appears that the repertory is contracting.  It seems that only the smaller community orchestras (such as the one in Saratoga, CA) or outfits like Botstein's American Symphony are interested in any repertory that isn't a sure moneymaker, i.e. has a big name attached.  Other than new music, which may draw dwindling federal arts funding here in the States, that is the extent that the conservative, ill-informed, gala-attending snobs who stock the boards of most of our major orchestras will risk their donations: to hear their beloved orchestra belt out the same old hits.  I hope they're satisfied when they get nothing but their top 50 year after year...

[chill319]

It seems that only the smaller community orchestras ... are interested in any repertory that isn't a sure moneymaker

That certainly describes what's happening in my neck of the woods. The exception: some guest conductors bring along a rarity together with the mandatory warhorses.