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(I shall start a separate thread about him, I think.... )

Oh dear .. 

Try this link... http://www.paulwilkinson.co.uk/index.htm

Yes, that's him. He's also active on Twitter and for some reason,  following me. (My tweets are in Dutch.  )

Is that Halifax UK or Canada (or the Halifax banking group  )?

Oh dear. I didn't realize colonists from Yorkshire settled in Canada and started a bank instead of doing a proper job.  I mean Halifax UK, of course. Where else would a composer find inspiration for a symphony? 

Great list, Colin, and one that really whets my appetite for more Hoddinott - I never realized there was so much ...

One small addendum: the Quodlibet on Welsh Nursery Tunes, written, as Alberto informs us, for orchestra in 1982 and arranged for brass quintet a little later, is included in a Nimbus cd in its brass quintet version.

On Nimbus 5466 with the Fine Arts Brass Ensemble it's coupled with two pieces by William Matthias (Summer Dances & Soundings) and two more compositions by Hoddinott: Chorales, Variants and Fanfares from 1992 + Ritornelli 2 Op. 100 No. 2 from 1979.



Later edit: Sorry, only at the moment of posting did I begin to realize that these performances won't qualify as `orchestral'. (The divergence started with the Quodlibet, which is an orchestral composition, but presented as a piece for brass instruments here.)

Composer Paul Wilkinson from Halifax mentioned on Twitter that he finished a Symphony in the last months, `after six years of work'. I wouldn't be surprised if his style were to Colin's (Dundonnell's) taste. 

Only after reading Peter Gay's book on Modernism, I realized that there are basically two `schools' of music in the 20th century. One could call them the Modernist and the Neoclassical, without claiming the distinction is always sharp and clearcut, of course.

Modernism was all about `experiment' and originality, a huge effort to do away with `tradition' and creating a new musical world of its own. But the mainstream (even if not always acknowledged as such) related itself to tradition. Indeed, tradition was growing much larger and reaching further back in time, with especially the example of Bach - he's after all the most influential composer of the 20th century - looming large.

The 20th century was not only the Age of Modernism. It was even more dominated by the discovery of ancient music. Blessed were the composers who did their advantage with so much richness and newly discovered `tradition' at their disposal.

(BTW, another RVW quotation below)

Alas, $2,300 is a little out of my price range at the moment. (Now if it were Lilburn... :-) )
____
In Germany it's slightly cheaper...  http://www.jpc.de/jpcng/classic/detail/-/art/Carolus-Antonius-Fodor-1768-1846-Symphonien-Nr-2-3/hnum/1711918

Of course: it does include the Third (Op. 19) as well. My apologies, I had forgotten (because I don't own this cd, notwithstanding its modest price in Germany  ). Good to hear the music examples on the JPC site - the Third really is a great piece of music, and quite remarkable `Beethovenian' for a symphony dated 1801 (probably).

His close musical friend, another composer active in Amsterdam in those years, is Johan[n] Willem[Wilhelm] Wilms, whose Sixth and Seventh proved quite a revelation when they appeared on this cd with the Concerto Köln, that was re-issued as a Brilliant (bargain price) cd recently. Recommended.


BTW: Lilburn!  (But that's another story)
       

Caveat: I've only heard the one piece, the Symphony No. 4, on the second album of the "400 Years of Dutch Music" series.  But it struck me as having more body than Haydn - more oomph, if you will.  More weight.  It reminded me very much of the Beethoven First.  I'd like to get to know him better...perhaps then my opinion would be revised downward. 

There is, actually, a cd with his second symphony (Op. 13, the one mentioned above is considered to be his `Third', Op. 19, if I'm correct), but the cd isn't widely available:
http://www.amazon.com/Carolus-Fodor-Johan-Meder-Symphonies/dp/B00004LMY7.
See also http://en.wikipedia.org/wiki/Carel_Anton_Fodor and http://imslp.org/wiki/List_of_compositions_by_Carel_Anton_Fodor

Stanley Bate. I read the reviews of his Viola concerto before, of course. But only after both his Third (1940) and Fourth (1953) symphonies had been released, did I give them some credit. Bate really is a discovery of the first category, amply underlined by the recent release of his second piano concerto (1940) with the wonderful slow movement - that can also heard among the downloads of this site, in a historical recording with Bate als the soloist.
                                 
For many the personal revelation of 2009 or 2010 perhaps, but for me one I only made in 2011.

Terrific, big fun! 

Incredible. Almost a complete set of her symphonies available, now.

So far, I guessed the Fourth to be her masterpiece (she can hardly have surpassed that one) and really enjoying the wonderful Second very much, I'm now urged to play so many more of her compositions.

That there's just one problem left. Time. 

Says the Bruckner fan. 

And I.  Safe-but-far-away-in-Texas-now, Brian is also on Twitter as @bgreinhart   

If I understand this interesting article correctly, what we can hear now are three fragments. That may have a relation with the lost Eight. Not exactly a completely new `Sibelius edition' then. 

Ahem, no wish-lists allowed in this thread! See previous reminder...

Oops. I wish I'd noticed it and I hope you'll forgive my transgression.  I do have high hopes of the ongoing Dutton project that brings us a about two new compositions by Stanley Bate every year. Now they've embarked on his piano concertos (there are five of them), no doubt, after the second of last month, more will follow in 2012.