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That is sad news. Sir Andrew Davis has always been my go to conductor for Elgar, after I purchased and grew to love, his 5 cd box set with the BBC Symphony Orchestra, now on Warner. I also have a treasured DVD of Sir Andrew Davis conducting the Enigma Variations, and explaining and referencing each variation. A sad loss.

Thank you for the heads up. I was not aware of this piece, although discovered I already had it on a recording by John Storgards. I am equally blown away, particularly as it falls within the earlier period of Sibelius's works which is much more to my taste than his later works.

Shy, quiet, reserved does not equal boring. Anyone who watched the recent television profile on Bernard Haitink, will have learnt that about the man. I see mention of his RVW cycle. I have listened to many performances of RVW Symphony No. 5, and to my ears Haitink's performance surpasses all. There is a quietness about the man, which spills over into his conducting in all the passages that gain from that approach, although he can imbue a performance with passion and urgency when appropriate.

He was deeply and personally affected by the war years, which no doubt helped shape his demeanour.

Particularly in his later years, he was adored by orchestras and audiences alike.

I agree with Alan that some of Vaughan Williams music is beautiful like the 5th Symphony, particularly the slow movement, but much else unlistenable to my ears. That is also true of Malcolm Williamson who could write the exquisite Lento for Strings, closing passages of his Man in Havana suite, Santiago de Espada overture dedicated to Adrian Boult. In his case he seems to have been pushed off track by his peers who heavily criticised him for writing accessible music. Thus the vast majority of his output falls into modern techniques for their own sake, rather than what was in his heart.

Also Richard Arnell with his 4th & 5th Symphony I find very listenable but not the remainder of his output.

Sorry if I have strayed outside the parameters of the forum, but it was just to make a point.

I am also surprised this has never been recorded. A very attractive piece, and the closing bars particularly, capture Borodin's melodic style.

Without wishing to appear pedantic, it is Henry Brewster not Walter. In her memoirs, Ethel Smyth states that the prison is based on The Prison: A Dialogue (1891)by Henry Bennet Brewster, but that she compiled the libretto herself from that work.

I have the book of her memoirs abridged by Donald Chrichton, which is a fascinating read, describing in conversational terms, meetings with among other luminaries, Tchaikovsky and Brahms.

The Prison is described as a symphony for Soprano and Bass Soloists, Choir and Orchestra. The premiere was at the Usher Hall Edinburgh with the Reid Chorus and Reid Symphony Orchestra on the 19th February 1931, followed only days later by a second performance at The Queens Hall under then Dr. (later Sir) Adrian Boult, on 24 February 1931.

Thank you for the download. He is not a composer I have been particularly aware of, although I see was born in Ukraine then part of the Russia Empire, and studied under Rimsky Korsakov. Should make an interesting listen

Mark you have remembered it very well. My early unsung composers love, stemmed from an initial liking for Russian Romantic or late Romantic music. Not the most salubrious of venues but I found it very exciting.

Alan yes I do remember Farrington Records. There was something particularly rewarding searching through classical LP's and being able to read the back to give an idea of what was on offer musically.

I have a soft spot for the original Svetlanov recording, having discovered an imported Melodyia LP of the recording, in a shop in Manette Street off Charing Cross Road.  The shop had been mentioned in Gramophone, so I decided to explore, and discovered Glazunov, Scriabin, Medtner long before they were readily available in the U.K.

Kalinnikov 1 was a symphony I fell in love with then, probably some 45 years ago, and remains one of my go to symphonies. The Svetlanov version on You Tube, I find spine tingling, with the added pleasure of watching Svetlanov conduct it.

As a long-time admirer of Parry's music, I had long hankered after a full scale release of Judith. But I agree it is very disappointing that a chamber orchestra was used here, when the work is demands a full orchestra. Perhaps cost was a factor.

Kalinnikov was one of the first LP's I purchased in a shop in Manette street off Charing Cross Road, that imported Melodiya recordings.

The beauty of his two symphonies has never waned since, and that was 45 years ago.

It started my search for other unsung composers, initially Russian, Glazunov for example, who was unsung then, and through this forum, I have discovered so many other unsung composers that I would have never discovered otherwise. Thank you for the immense pleasure you have given me.

I was fascinated to read that you have a monograph of Susan Spain-Dunk which I would be very interested to read if you wouldn't mind sending it to me.

It is of particular interest as I live in Folkestone where she was born, and I stumbled across her composition "The Kentish Downs", without realising she was born in Folkestone.

The Kentish Downs, are an Area of Outstanding Natural Beauty in Kent, so I can well understand how Susan Spain-Dunk was inspired by them.

If you are able to send me the monograph it would be much appreciated.

Rachmaninoff Symphony No. 1. I first heard it on on vinyl, by Eugene Ormandy and the Philadelphia Orchestra. Despite it being destroyed (then reconstructed from the orchestral parts) after it's dreadful first performance, I have always wondered what direction Rachmaninoff might have taken if this symphony had not been universally pilloried.

I love his later works as well, but feel he moved on to safer ground. Written at 21, the youthful fervour I find absolutely magical. Commentators find it uneven, but to me it is full of wonderful rhythms and melody.