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Two other pieces I found on youtube by Coca, though they don't do anything for me...

Flueraşul (for clarinet and piano) - https://www.youtube.com/watch?v=V1A1_XIDd1E

....that's an oboe.

I like the first piece much better, though the end bit of this one is nice....does sound a bit like a folk tune.

Nice little piece, though sounds like something that'd be in an pedagogical book -- not that this is bad mind you, as there's plenty of very tuneful 'academic' clarinet music of this nature of which this reminds me of.

Yeah I don't get the odd thing about suites -- plenty of more traditional classical music has suites made out of it, often by other hands. Just taking a selection  of pieces from a larger work and presenting them in sequence isn't actually /altering/ anything. It might be changing the context, but after all film music (and any other incidental music such as that which underscores radio, ballet, theater, etc) is inherently made to be part of a whole rather than an entity in and of itself. While I for one DO enjoy hearing complete music as a whole, there's still nothing wrong about taking out a few of the pieces and putting them into a tighter structure with less downtime.

I personally don't think a simple act of selecting bits from a whole constitutes 'arranging' -- compiling would be a good word for it. Or even 'selected' or whatever. Certainly I would agree that some note should be made but it's hardly such a big deal as you're making it. Think of a film score like a work with many movements (usually called 'cues) and a suite takes a select number of these cues. Each cue will stiill has a distinct beginning and ending, just like movements in a symphony (of which there are obviously exceptions in both cases)

While it's true that The Sea Hawk has a few options of varying length, at the same time I don't think anyone would see the last three on the list and wonder if it's the whole thing, or worry about if the composer made the "suite" selection or not -- the issue of if any of the music is specifically altered (be it in orchestration or even cutting within cues) is a different one and any notation on THAT end should certainly be noted.

Every CD is full of top quality mid-late romantic piano music. Now if you've never heard Raff or at least his piano music I could see the hesitation but I honestly can't remember anyone on this board saying a bad thing about the series (though perhaps elsewhere....)

Coincidentally i just listened to Vol. 2 yesterday.

They've reissued a number of these (five, according to Dutton's website)....a couple people have said they don't differ much if at all from the previous RCA/Sony issues.
This is the only one with Korngold, who has two discs fully dedicated to him and a bit over 2 hours across the entire series.
FWIW.

On Varese we have new complete recordings of Kings Row, The Sea Hawk, Elizabeth and Essex and Anthony Adverse. On cpo there is a complete recording of Korngold's arrangement of Mendessohn's A Midsummer's Night Dream film score, as conducted by Gerd Albrecht.
Ther is also a complete recording (OST) of Korngold's Wagner biography film score Magic Fire on Varese.
One can also find more complete original soundtracks on doubtful or private labels: Juarez, the Prince and the Pauper and Anthony Adverse.

There's also the complete re-recording of The Prince and the Pauper on Tribute.

Incidentally as far as orchestrating goes, as said it's the standard practice (this is true in Broadway too). The best composers give enough info that really the orchestrators are more like copyists, simply fleshing out the already orchestrated short score into a full score. Obviously Korngold was a fine orchestrator as judging by his non-film work. He didn't 'need' one, but it was required to do the job. And one would notice his film scores still sound basically like his non-film music -- his orchestrational voice is still there.

I'm dumb, the Atterberg is on Danacord. Dunno why I thought it was Alto....I guess because it was a reissue and the somewhat cheap looking art.
Sorry.

Any reason to assume CDRs? I recently got the new re-releases of Atterberg on Alto and it's pressed.

The FLAC is only 10 Koruna more expensive, though it's showing 49 for the Mp3 and 59 for the FLAC....how did you get 55?

Wonderful! Though I guess it means the CD will only be 50 minutes long....

BTW the recent Offenbach disc of overtures by the same performers is fantastic, and includes some real rarities (including the Princesse de Trebizonde overture which I've been wanting to hear for over 20 years since I found the score and as I was doing at the time, making sequences of them on my computer)

Oh wow, talk about something I never thought I would have -- #2 (Arabesque) and #15 (Ballade) were in multiple pedagogical piano books when I was young (and I do have recordings of them on this disc that replicates one of those books I found on Ebay many years ago). Easy but great little pieces. Will almost certainly be picking this up.

Lemme quote from someone who posted on a forum about a game which uses one's personal digital files (Mp3s, FLACs, etc) to generate levels:

"uhhh... nobody has really used MP3s for like a decade or even longer. everything is streaming now. Nobody has CDs, the ones that are around are protected from being ripped, or so old that they're scratched. Like I havent even seen a cd in 20 years you know. This game is like if somebody based a VR simulation around the 8 track form the 70s. It would make more sense to have the game link to the players music streaming accounts."

While this individual is likely intellectually challenged (or just exaggerating/trolling) I've seen the mentality to a point quite often the last few years.

They are a Polish label who put out some recordings of all (?) the Karlowicz orchestral music as well (I own a really nice disc of some of Stojowski's music for (chorus and) orchestra from that label as well as some duets by Rubinstein, Tchaikovsky and Rimsky). 

Certainly in the same 'interested but never heard any' boat.

I can't remember any short Toccata discs, but then again I hardly paid attention to THAT many.

According to the list I have, the other substantial orchestral music is three generically titled suites (no recording?), From Foreign Lands and that symphony talked about in the other thread. A number of smaller pieces exist, some of them on that Reference disc.
*shrug*

All these comments but has anyone seen the film with the score played live ?  If not then it is like judging Wagner's Ring Cycle without the voices or staging.  The only really great film score I know of, is Shostakovich's for the Russian film of Hamlet. That is a thread that we dare not go down.

Man, Imagine someone coming along and stating "the only great classical music I know of is <whatever>". How would you feel if someone said that?