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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.)

Mosolov: The symphony on the Northern Flowers CD seems to be the 1944 symphony in E, which is from a period, if I am not mistaken, in which Mosolov had mellowed (for political reasons, such as having been sent to the labor camps - rescued after awhile by his teachers, fortunately - and possibly others.) I doubt it is anything like his Iron Foundry in sound...

Someone mentioned the Winter-Hjelm 2nd; was this ever reissued on CD? A local station played this work from time to time fairly recently, I think. Enjoyable.
Eric

I'm glad to see a Weinberg symphony - no. 1 (G minor, Op. 10), in fact - is being issued in this series. Not sure if this disc is available yet - I believe so, Records International lists it - has anyone heard it, any thoughts? I've only seen the score so far...
Eric

Vagn (pronounced Vaughan) Holmboe wrote two concertos for flute as well as the trombone concerto already-mentioned, and one for recorder also.  Other concertos of his did feature usual instruments in unusual pairings- oboe and viola, for example.  (Influence of the sinfonia concertante?)
I do wish Hindemith's desire to write a sonata for everything had extended to concertos, too, but he wrote quite a few anyway, including one for the viola d'amore (which I have yet unfortunately to hear.  I have read some criticisms of its orchestral balance but hope to decide for myself of course.)

The Ruth Gipps work may be her Leviathan for contrabassoon and strings though I don't think she wrote a work called concerto for that combination, for what it's worth.

A few other flute and trumpet concertos from eras classical or Romantic, by the way-
works by Christoph Graupner (two for trumpet, three for flute ?)
Vanhal - 7 concertos for flute (5 published, 2 in manuscript)
Molique- one for flute
Kramar- two for flute
Boccherini - one for flute (another actually by Pokorny? not sure)
Riotte - one for flute
(J Neruda may be wrong era, though?)
for starters, of course, or not quite starters, but not nearly ending either.
Eric

22nd February:  Another birthday for Joachim Eggert (1779-1813) passes.  Sorry I can not provide an up-date wih repect of the recordings at Naxos or performances since his last birthday.

Ohhh- I think it was on the 22nd that Swedish Radio P2 broadcast the Discofil recording of Eggert's 3rd? (E-flat) symphony - yep.
(See http://www.sr.se/sida/sandningsarkiv.aspx?programid=2480&date=2010-02-22 . Bottom of page.)
Still audible by Realplayer or WMP until March 22, by the way.  I listened and was impressed. Looking forward to those new releases.
Eric

I can hear a connection with Beethoven, but i must admit that the first time l listened to the Op.77 sonata, I thought someone had put the wrong CD in the box as i was convinced it was Schubert. I have no idea why these sonatas are not part of regular concert repetoire.

Have not really looked at the concerti yet, but i anticipate finding works of similar quality.

There must be something special about these Bohemians. I am becoming rather attached to Tomasek as well.

Thal

I'd agree about quite a few of them, Vorisek too of course, Reicha and Vanhal and a gratifyingly long list, even Kozeluch and (even? well, of course) Krommer/Kramar. (Three of Kozeluch's piano concertos, to my surprise, have been recorded; from what I've heard of the disc, over the radio, sounds good. Tangent, though...)
Dussek's concertos, that I've heard, seem to bear out someone's contention that Dussek was at his best the fewer instruments he had at his disposal. (A spectrum from solo to duet to trio etc. - he wrote for many combinations, sometimes for many alternatives not obligatory!) ("Someone" may have been William Newman in his excellent Sonata Since Beethoven, a book that has regrettably - shamefully! - gone out of print.)  But I may only have heard Dussek's earlier concertos (op. 17 for example, which is broadcast fairly regularly on Radio Swiss Classic; though then again one of the later two-piano concertos is broadcast from time to time on Cesky Rozhlas, excellent station!) and despite what I just said, I am glad to have heard them, that they have been recorded - etc.! Good music. Would be glad to have more of them, indeed.
I was for some reason surprised to learn Dussek had written string quartets. I imagined that, like Medtner and moreso than Sorabji, every last work of his involved the piano in some fashion (or in Dussek's case, piano or harp!) Which leads to a train of thought that whether or not it belongs in another thread, doesn't belong in this one...

Eric

Yes, Peter - I am with you on Dubois.  I've managed to buy three of the Atma discs of his very lovely chamber music.  It all is marvelous and melodious.

Staying out of Belgium, therefore, and still in France - my favorite two composers of the same sort are Ropartz and Cras.  I very much enjoy the sea motifs in the music of both - and they now are quite well represented on CD.  Of course, the Ropartz Quartets are in a world of their own, and his Third Symphony is an overwhelming paean to nature and humankind.

A world of their own - with respect to other quartets or in the context of his output? I've only heard his sixth&last quartet (as a MIDI, before the commercial recording came out.) Hoping to get the recording though; the quartet is obviously fantastic (& maybe fantastical, too ).  The slight bitonality of the second movement's trio with its re-interpretable drone seems inspired by d'Indy's op. 24 suite, to mention just the slightest point of many of interest (not least a very memorable slow movement).
Eric