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As I understood it, the recording stems from the conductor's interest in and revival of the piece rather than the label took it upon themselves to record it but decided they'd do it on the cheap.

I don't understand this sentence, sorry. Could be me. Are you saying that Chandos took it on because it meant doing it on the cheap?

Replying to your edited addition,no. I am suggesting Chandos did not instigate a revival on the cheap to record but they  were inspired to record it because a revival was in the offing already, with the conductor and LMP.

The problem, frankly, was how to respond to a post with such a strange argument, ranging from mention of the  Vienna Philharmonic to a call to appreciate what we have a little more.

Perhaps if we could stick with the issue, i.e. whether the orchestra used here is adequate to the task, we could have a more profitable discussion - especially as this isn't the first instance of such a failing in recent months.

Had you not deleted my posts where I replied and clarified what I meant you could return to them and maybe you would understand better where I was coming from.

Given the editing of posts ex post facto and the selective deletion of posts by the moderators, I don't feel continuing with this discussion is going to be productive or - given the circumstances  - worth my energy. It should not be a requirement  to take screenshots every time you post on a forum.*

I'll bid you good night, Alan.

* Edit: But thankfully,  based on previous observations of this site, I have. I wonder how such dishonesty is allowed on here? I've not been abusive , I have broken no rules, I have been more respectful than the moderator who has selectively revised this whole discussion.

In fact I'm not aware I have ever been abusive, disrespectful or broken any  forum rules or guidelines. Mark? Semloh?

I  see you edited your previous post quite considerably. 

As I understood it, the recording stems from the conductor's interest in and revival of the piece rather than the label took it upon themselves to record it but decided they'd do it on the cheap. In which case we should probably be grateful to Chandos for taking the opportunity to add this to their catalogue, as well for Mann's advocacy of the work in the first place. Of course, I could be wrong but either way I am grateful it is now on disc.

The live performance last year seems to have earned good reviews and the LMP are hardly some tiny, HIP scratch band. They have made some fine recordings when you would hardly guess they were a chamber orchestra (a loose designation anyway)

It would be lovely, I agree, if every unsung orchestral work could be recorded by the Vienna Philharmonic but at a time when people are lying on trollies in British hospital corridors for want of beds and sleeping on the streets of our towns and cities, perhaps we should appreciate what we have a little more...

An interesting new release coming from CPO in mid-Oct:

https://www.jpc.de/jpcng/cpo/detail/-/art/felix-draeseke-streichquartette-op-27-op-35/hnum/8992780

I enjoyed the symphonies a lot but the chamber music isn't always easy to get hold of because of the obscure label it was on. Looking forward to this and should bring the music to a wider audience, hopefully!

Naxos is releasing a cd featuring cellist Dmitrii Khrychev, including a couple of pieces they designate as "World Premier Recordings" - Davïdov "Fantasy on Russian Songs", op. 7, and Liadov "Fantasy on Gipsy Songs".  (also Tchaikovsky's very sung Rococo Variations, but in the "original version for cello & piano").  Presto & Amazon release date: June 14. 

It's not really repertoire that appeals to me but I'm sure it will be of interest to some so thanks for the heads up, Sharkkb8. 

I'd like to hang around and make snide, dismissive and frankly rude comments every time someone links to recordings of or mentions music I'm not interested in but thankfully the fact that I have decent manners and I'm quite busy precludes that.

I thought they sounded very impressive. Intriguing and sad to think of the potentially wonderful symphonic cycle that is languishing unperformed and forgotten. It would be a great cause for CPO to take up. I still hold out hope they will do, as I do for Wilhelm Berger's symphonies (I just discovered his 2nd on YouTube. Wow, what music!). But I've wandered off topic, sorry!

Having listened to the excerpts at the link posted by Gareth, there doesn't seem to be anything unpleasant about the orchestral sound. Not all period ensembles sound the same any more than "modern" ones do.  What I heard sounds quite fresh and delicate, some lovely woodwind, and as far as I can tell from the samples the recording quality is excellent. And the singing sounds far better than that on the Chandos recording, espeically Ivonne Fuchs. I find Anne Gjevang's effortful and constipated contralto voice positively unpleasant in the older version.

I am fortunate that I bought the Orfeo discs back in the day when they were new releases, though I suppose that was still a considerable outlay of money thinking about it. I do like these performances and the sound is very good. I bought the Serebrier when it came out as a boxed set because of the many laudatory reviews. I return to the Jarvi more often though.

Re his chamber music: well, some of it, anyway, HAS been recorded...

MDG: Nápravník complete piano trios (Spyros trio), 2017.

Yes, indeed. I read the Musicweb review. I merely intended to indicate that the performances/pieces on YouTube were not those easily available on the MDG disc. From a quick check (I wasn't able to yesterday) today, there is still a violin sonata from the festival. I thought there were some other pieces too but...

As far as I know there has only ever been one complete Dubrovsky, the one which Alan refers to. I listened to it on Youtube some time ago and wasn't very impressed.  There seems to be a version with subtitles now so perhaps I should give it another go.

There are (or were) some performances of chamber music on Youtube too, not from CD recordings but from a music festival, IIRC.

Goodness, I thoroughly enjoyed that, Gerd. Very impassioned and dramatic but cogently argued too! I would love to hear it played by a full orchestra (though it is incredible how well NotePerformer simulates the sound of real instruments here).

Looking forward to hearing the other movements.

I have always been somewhat intrigued by the symphonic poem of Mrs Rimsky-Korsakov, but have made no serious attempt to find the whereabouts of the MS. Nevertheless, the title ("The Bewitched Place") is interesting. Something in the style of Liadov perhaps. Would like to find out.

Yes, it's an intriguing prospect isn't it! But I think she really gave up composing after they married in 1872, according to wiki, completing the orchestration the year afterwards... So I think Liadov's style, which is the next generation as it were, would be too advanced. Perhaps an idiom more like Balakirev or Glinka or R-K himself, if keeping influences limited to Russians?

As an aside, and without agreeing at all with David Wright's characterisation of Elgar's music, judging by accounts I've read of Elgar the man, he's not wrong. Certainly his treatment of both Parry and Stanford was very shoddy. I do think too that Parry's chamber music is not the best of his output - there's often something dutiful and pedestrian about it which is quite lacking from his orchestral and choral works, for example.

Yes that maybe so but not sure what place it has in this review. i might have thought it was padding to make up the word count. That so often happens with (sometimes interesting but not strictly relevant) introductions of extra musical information into reviews. But looking at his website it seems more like he just saw an opportunity to shoehorn in some of his personal animus against Elgar. There's some deeply unpleasant writing on his webpage and some wildly inaccurate writing too, both in terms of biographical information about composers and also purely musical matters. He seems quite unhealthily obsessive and, yes, very often vitriolic as Gareth says. It dismays me that someone finding their way into classical music might stumble across his "essays" and leave with all sorts of wrong-headed info.

But back to the topic (apologies, that diversion was quite interesting and I couldn't resist investigating), I haven't heard the trios but maybe (hopefully!) this group will find something in Parry's works that other performers haven't. I'm quite excited about this release to be honest.