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IIRC, Olympia never recorded anything. They licensed recordings to re-issue, including Russian Disc and Melodiya recordings for release in the West. That was the case with the Svetlanov Myaskovsky recordings, for example. So, I would guess the Tarasova recordings of Davidov CCs were reissues as well.

IIRC = If I Remember Correctly

On the contrary, to the best of my knowledge Olympia made several new recordings, including MacLachlan's Myaskovsky piano recordings, the Camillieri and Ronald Stevenson piano concertos (unless those were also reissues? Help me out here? ), and quite a few others.
Eric

If Marina Tarasova is the cellist, they're probably the old Olympia recordings.  They went belly-up before they could release 3 & 4, IIRC.

Yes she is. Thanks for the info, do you know if concertos 3 & 4 had been recorded by them before Olympia ceased to exist?

And, by the way, what is 'IIRC'?

I don't know, and If I remember correctly, respectively
(Perhaps it's possible to contact her directly- there are several Marina Tarasova(s) on Facebook, it seems, he notices experimentally. But then none of them might be the cellist. I have no idea!)
Eric

Why be annoyed about chatting on about cultural phenomena, like college football, in a thread that has nothing new to offer to you, anyway? Why do you even bother and read, and then comment?

Are you going to enlighten us with reasons Nos. 1 - 20 on why you don't post anymore? Why not make a topic out of that, for those of us who are interested?

None of your questions address the topic of this thread, so they must remain unanswered, at least within the confines of this forum.

I never quite got the memo about what the topic of this thread was... Raff's octet, major octets, or other things...
I need to check my mailbox
Eric

A couple of years ago, I spent some time playing through about 15 Dussek Concertos, but I do not remember encountering the same genius that I did with some of the Sonatas, which I would rank alongside Beethoven, notably the Op.77.

I can imagine a few of the latter Opus number concerti being recorded, but I doubt if the whole lot would be, even if performance materials still exist.

Thal

William Newman (The Sonata Since Beethoven, paraphrasing from poor memory...?) claimed that Dussek's invention tended to spread thinner as the number of instruments he used grew larger (i.e. that his best work is indeed in the solo sonatas, though whether he meant only the piano sonatas or whether he liked the harp sonatas as well I have no idea...) -

hrm. Even so... have only heard op.70 among the later concertos if that one (since that's the only one that's been recorded so far), but I'm sure lots of worse/less-contentful music has been recorded in quantity, so I'm not taking the bet, anyway

Several of Dussek's concertos are or have been available on CD, though possibly not in robust performances:

the B-flat op22 & G minor op49 (Staier on Capriccio, released 1995, with the Tableau Marie Antoinette op.23);
the F major op. 17 and the B-flat op.40 (on Bongiovanni, 1996 CD);
the op.70 concerto (with some piano sonatas, on Supraphon, 1999);
the double-piano concerto in B-flat (on Centaur, 2004);
possibly others...
I've heard some of these recordings on Cesky Rozhlas radio (webcast).
Eric

Some works I can think of, (some film scores, and at least one "concert" a cappella work by Benjamin Frankel as well- I believe it's "The Isle is Full of Noises" from 1957...) exist only as recordings of one kind or another, too, _all_ performance material having been apparently lost!
Eric

It's part of what we Americans call "flyover country".

P.S. I'm astounded that you don't apparently have much in the way of intercollegiate sports in the Old World.  Don't you have college rugby (or soccer, which is what we call your football), or cricket or anything over there?

Soccer is rather popular at our other side of the Atlantic - especially at the moment! - and there are sport societies linked with universities, but, as Gareth put it so eloquently:

(...) to the detriment of the more academic pursuits which, presumably, are its raison d'etre.

...they don't really have anything to do with the studies themselves. At least, it's like that on the continent - I don't know much about university/sports on the British Isles.

I like the expression 'flyover country', though, especially when you think several small European states would fit within its borders, and there'd still be space left... (geographically, of course)

And, on another note, although I'd never heard of the University of Nebraska, I'm not surprised to find out there is such an institution; I can very well imagine every State of the U.S. having a university - after all, it's not a small country! (again, geographically)

And, on topic:

I'm actually not positive what octet I would place as the first "must know" after Mendelssohn's among 19th-century string octets. Enescu wrote his _in 1900_ (also at quite a young age, though age 19) or I would nominate his, I really do believe, for sheer brio, invention, among other qualities... (despite the quality of Raff's; I admit it's a subjective thing - and I admit I've only heard a few of them- Bargiel's, Raff's, Mendelssohn's, Gade's, Enescu's, perhaps a few others - to date - that I can think of.)

Eric

I wish for a recording of all of Glière's string octets - I think he wrote no less than 3. But, for the time being, Mendelssohn comes 1st place, followed by Bargiel, Enescu coming in 3rd. I love the Raff, but I don't think it's on par with those - more my cup of tea than the the Gade or the Spohrs - though! But, as I already pointed out, I think (in such a dissertation) mention of just the Mendelssohn octet suffices: for me, there's a very large gap between this work, and the rest written in this form.

Actually- Gliere wrote three sextets and one octet... and while talking about only string octets we must omit the Spohr of course.
Eric

It is true that the dissertation is concerned with Septets, Octets and Nonets for strings and winds, but I had expected some mention of the purely string octet as part of the context for these other chamber works, and the two outstanding examples in the 19th century of the string octet are by Mendelssohn (yes, I should of course have mentioned the omission of Mendelssohn) and Raff. It just struck me as odd that these two major octets should be ignored.

I'm actually not positive what octet I would place as the first "must know" after Mendelssohn's among 19th-century string octets. Enescu wrote his _in 1900_ (also at quite a young age, though age 19) or I would nominate his, I really do believe, for sheer brio, invention, among other qualities... (despite the quality of Raff's; I admit it's a subjective thing - and I admit I've only heard a few of them- Bargiel's, Raff's, Mendelssohn's, Gade's, Enescu's, perhaps a few others - to date - that I can think of.)

Eric

Andorra- I don't know about classical composers; Lluis Claret is an Andorran classical cellist of Andorran birth however.

Luxembourg: Louis Beicht (1886-1943) (operettas mainly apparently).
also Helen Buchholtz (1877-1953) and others. (see eg
http://lb.wikipedia.org/wiki/Kategorie:Lëtzebuergesch_Komponisten and translate, or the English version which has fewer composers listed ) (Only some apply of course, some being too recent...)
No Romantic symphonists I can see offhand in that country, but I am not being thorough...

Eric

Malta: Charles Camillieri, 1931-2009

It is rather surprising that nobody has mentioned yet the wonderful Piano Quintet op 35 by Gernsheim!

I haven't heard either of his quintets yet (a lack I hope to remedy), but why the first quintet and not his second?

I seem to recall Girdlestone, in his work on Mozart's piano concertos (I may have this very wrong), lamented how few of CPE Bach's keyboard concertos were at all known or even published or heard. (Alfred Einstein though JC Bach much more an influence on Mozart than CPE Bach, but anyway, non sequitur I suspect.)  This recording, like the published edition-in-progress if I remember correctly, fills a real gap very very well, from what I've heard from it.  Yes- there have been individual recordings of these works over the years; and a number of these works are, too, rearrangements (with some changes to fit the keyboard...) of works better known in other forms (organ concertos, wind concertos, symphonies...) (I think...); but the scholarship of the BIS edition is very high (no surprise), the performances are very good, and yes, I agree.

(And there are now more CD recordings (not reissues) of CPE Bach keyboard concertos, from cpo and elsewhere I believe. I hope this is a trend.)
Also glad to see the keyboard sonatas, which I knew mainly from the selection published in 2 Dover volumes extracted from the Farrenc edition, recorded also by Spanyi. (With some competing selections on Naxos, Olympia (rip), and elsewhere...) Very welcome !

If I recall, the Vierne has indeed been recorded commercially, with his symphony. There was a topic about this briefly in this forum, now that I look. I've only heard the symphony, though (quite good!) - not the piano-orch. work. I have heard one of Widor's piano concertos (off-air tape though, indeed.)
Eric

I'll have to hear the symphonies; I've heard some of his string quintets on the radio and been favorably impressed.
Eric

English composer Rutland Boughton composed two concertos for oboe and string orchestra. No. 1 in c - recorded by Hyperion, and no. 2 in g. Both concertos were composed in 1936, the reason seems to be that Boughton's daughter Joy was a talented oboist.
The same composer also composed two Oboe Quartets, in 1930 & 1945.

Morten

If we're going to start going into chamber music (as of the post before this one if not earlier!) the repertoire of oboe sonatas is worth thinking about. The work I have heard most often, I think, is Rubbra's.  Several-times recorded, brief, and I think lovely. I have two recordings - on Dutton and on Etcetera (tape, not the whole CD...) 

(There's one by Herbert Howells I'm not sure if I've heard. I _have_ heard one or both of the two by Julius Rontgen- Concertzender.nl Hilversum broadcast a wide range of his works, still available over webcast I think, including those two sonatas - which sound quite good!)

I think I heard Hindemith's oboe sonata back when I was working (food service...) one summer at Interlochen, and probably since.  Typical and good piece, if as I do you like his music... one of his concertos includes a solo part for oboe.
(Vagn Holmboe's fine oboe concerto op.37 is more neo-Classical - not surprising I guess given the year - but also very lyrical, in my opinion. It's part of a series he once called Chamber Concertos, since the accompaniment is for chamber orchestra; he later dropped the title.
Worth hearing. I only know the DaCapo recording- there may be one on BIS by now, or perhaps will be in the future.)

Eric