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Sorry placed this into the 2024 thread  (new member so I'm still learning the ropes). The same here for Nov 29 & 30 this year.

2023 not 2024 but... RPO (Cardogan Hall) will play the UK premiere of Ida Mobergs "Sunrise") with Tito Muñoz conducting. Moberg died in obscurity in 1947. Our society is preparing all her orchestral scores to be distributed freeware within a couple of months and this piece was the first one I typeset in 2017.
Nov 29 & 30, for all you Londoners over there.

https://www.rpo.co.uk/whats-on/eventdetail/2044/191/sibelius-violin-concerto

Inquiries about the CD could be made in the Swedish recording company:
https://naxosdirect.se/search/aulin%20moberg%20andree
E-post: kundtjanst@naxos.se

For me it also seems that the CD is unavailable but but you can always ask the company by e-mail.

We've definitely seen how high-quality recordings immediately increase the interest of conductors and orchestras and they actually dare choose it to perform:)

How and where can I purchase the disk featuring the 1st symphony?

At least Naxos direct: https://naxosdirect.fi/items/orchestral-works-560264
Might depend on you country of origin.
Also on Applestore with links to iMusic store. https://music.apple.com/us/album/aulin-moberg-andr%C3%A9e-orchestral-works/1562896799

Having joined this excellent forum I'm browsing and found this old thread about Andrée. Having edited her two symphonies a couple of years ago, the first is now available by the Gothenburg Symphony Orchestra (the record won the Swedish Grammy for best classical) along with orchestra suites by Valborg Aulin (1860-1928; a lively and robust work while not technically as well constructed as Andrée) and Ida Moberg (1859-1947; I edited these suites two and do like the Moberg very much, in fact, the first movement was performed at the Nobel Prize Ceremony 2022).

Andrée's 1st is a relatively youthful work in C major, the 2nd-3rd movement perhaps a bit too extended but otherwise very well constructed. The second theme group of the 1st movement is in the unexpected E minor and the movement culminates in a very ambitious (but well written) counterpoint passage with the principal theme group and the main countermelody interposed. She hated this symphony mostly because of the disastrous first performance in the late 1870's. It was presumably played without rehearsals and the 1st violins were a measure off in the finale (and at that point she left the concert). She dismissed it as "youthful experimentation". The slow movement was later recycled into her "Fritiof Suite" based on her opera. Andrée was an excellent composer of engaging melodies, as can be observed in the second theme of the 1st movement. The whole record can be heard here: https://www.youtube.com/watch?v=ohNEQsyE1wY&list=OLAK5uy_nuS5_Y-zZpC_WQmLnBO01zuhvY-hj-6k8

As for her second, I conducted it also myself after editing it and here's she more mature but retains and develops her melodic skills. She also had a "signature move" of the descending seventh, first heard in the third theme group of the 1st movement and eventually developed into a hymn-like melody at the end of the finale. There's a 1994 recording that is not very good. The record also contains her Fritiof suite but for unknown reasons (the conductor has passed, otherwise I'd have approached him with the big WHY) they skip 100 (to be precise, 98) bars of the Finale, including the return of the second theme group that is orchestrated for cellos divisi à 4 and trombones (long trombone melodies were quite uncommon in 1878). A Finnish conductor recently performed both symphonies and I'm urging her to make a new recording. However, the stump is here: https://www.youtube.com/watch?v=3NMFEUatskA The jump skips practically the whole recapitulation until the second development (that includes the very well crafted brass melody ascending from horns with trumpets and trombones joining).

Apparently, Norrköping Symphony has recorded Fritiof and the 1st again (we sent them the sheet music but have not heard back from them), still waiting for news about the release date. The second is out there to be decently recorded still. The Moberg (lots of other stuff by her, as well) and Aulin are available as freeware for anyone interested.

The Jena performance is in my opinion OK but some interesting stuff in the score are very hard to hear, but that is probably due to the not-too-good audio quality. For instance, the electric background of the violas (beginning of 1st movement) is very hard to hear. I think that the finale works best with the sharp dotted rhythms (but in this case, the second theme group does not need to be so tranquil). We just discussed the possibility sharing of Senfter samples (some pages of scores in pdf, noteperformer audios) on our society's website (it would be good to promote with the actual music and not walls of text) and if and when it becomes allowed, I'll also keep this forum updated.

The unusually (compared, say, to Haydn!) "exact" recapitulations sounds a lot like her teacher Reger! That said, I agree with Mark.
Is her fourth symphony in B (5 sharps) or B-flat (2 flats) (or B minor - 2 sharps - or B-flat - 5 flats) ? I'm confused?

Sorry, the 4th is in B flat major.

The exact recapitulation extends to the first 2/3 of the first theme group usually, thereafter she does some changes into instrumentation etc. Interestingly, the second theme group is repeated not in the main key of the movement but usually a second higher or lower than in the exposition (and this takes palce in more than one symphony). Reger used to say that Senfter was his best student (also mentioned in the newspaper reviews of her early symphonies).I am happy to go deeper into any aspect and if any one knows conductors who would be interested, I can connect them with Schott for more info (they will have to have a say for first performances).

Johanna Senfter (1879-1961) was a taciturn, introvert person who wished that she'd be known by her music and not by her person. Hitherto, she failed and remained unknown on both accounts. Schott Music has the rights for her works and keeps most of her orchestral manuscripts while a few are at Cologne University Library. I am happy to have an agreement with Schott that allows our Society to engrave and edit the symphonies (and at least the viola concerto) from her manuscripts. Unfortunately, the process is obviously not the fastest but we're expecting to have performances (and hopefully some recordings) of the early symphonies in 2024.

No. 1 F major "1914". Performed once in 1918. This is a three-movement relatively compact work (30 minutes) for the conventional romantic orchestra but with cor anglais, bass clarinet (that only plays in 10 bars though), contrabassoon and harp. Could be a nice introduction for her symphonies for medium-sized orchestras that can hire a few musicians for the extra instruments. Second movement especially good in its chromatic and somber melancholy.

2nd in D minor. Four movements, practically similar orchestration, about 40 minutes. She often did a 6/8 finale in her earlier symphonies. Was performed once in the early 1920's. I did find the review from a local German newspaper but forgot the file where I put it.

3rd in A major and the only one in a sharp key. Working on its finale at the moment. Four movements, no harp, could be played by any professional orchestra. It pairs quite closely with the 4th in its 6/8 rhythms and large scale (I suppose 50 minutes). It was performed in 1928 with quite good reviews and apparently good response from the audience (as they mention how "the sympathetic composer" was repeatedly called on stage). However, they performed a torso. The score has many omissions that seem to have been hastily, as they just jump over important passages as long as the chord from the start of a jump was found on the bar where it ends. In fact, I am quite sure that the next performance of this can be called the actual first performance. I think that about 10 minutes were cut.

4th, B flat major and the one accessible with an audio. Also here some baffling cuts were made (of which one is an alternative proposed by the composer in the first movement). The second movement of the audio goes into (in my opinion) too fast tempos in the middle sections when compared to the score.

5th, despite the Wii page in C minor not i E minor, no date on the score and probably never performed. I surmise a composition date in the late 1920's or early 1930's. Requires 8 horns, which may have been an obstacle. Three movements and while I have not studied this yet in detail (next year), it starts to incorporate hymns, the sign of the latter half of the symphonies.

6th in E flat, Composed 1932 and performed at least twice (in the 30's and 50's). Four movements and goes deeper into the style of incorporating hymns.

7th in F minor and four movements, goes a bit back to her earlier style with an academic structure of sonata forms and four movements. Only the "urschrift" remains (the "original manuscript, not cleanly copies, the "reinschrift" is the clearer copy). There are reports of the work having been played in 1944 but I'm Skeptic, as no instrument parts or even traces of them have been found (same as with the 5th, 8th and 9th, I think that they are still waiting for their world premieres).

8th is in E flat major, I think that this is the one that's been dropped from the Wiki list (the 9th is in the musician-fiendly [pun intended] E flat minor). Composed 1945, have not looked at it in detail yet but the handwriting is a bit dismal.

The 9th is in E flat minor, four movements, this is going to be something. It incorporates Luther's hymn "aus tiefer Not schrei ich zo dir" (de profundis in german) but only instrumental. Four movements and the hymns is everywhere. Composed in 1949 and there are musicologists working in Germany deciphering her live events etc. figuring out if this was a personal cry, a reaction to Germany's dismay or both or something else.

General characteristics of her symphonies.
-Usually they follow the sonata form very closely in the 1st and 4th movements (which makes typesetting easier as the first 30-40 bars of recapitulation are identical to the beginning).
-Senfter does dynamics with instrumentation. As the music intensifies, more are more instruments join a line (usually the woodwinds also in the manner that the 1st player joins first, then the 2nd) and they also exit a phrase in the same manner.
-In the earlier symphonies the woodwinds do not always show mush independence but double the strings (as explained above), less so beginning with the 3rd and 4th symphonies.
-Senfter usually goes straight into business. No long introductions, the first theme groups starts at measure 1. No extended codas, either, once you reach the principal key in a reasonably satisfactory manner, it's OK and we can all go home (I like her endings).
-The horns are big players. They often introduce principal the groups (we.g., 2nd and 3rd symphonies) and for the remainder of the time, they have their own counter-melodies that add richness to the overall score.
-The trumpets are a bit more restricted for culminations of passages, trombones and tuba have interesting passages of accompanying especially woodwind solos and soli.
-Clarinets have a lot to do when it comes to woodwind solos, flutes next, oboes quite a lot of less and bassoons mostly double the cellos and double basses
-String parts are very demanding, requiring high passages for cellos (and also double basses), lots of divisi.
-The chromatism and accidentals are everywhere. A bar without an accidental is a rarity, a bar with a couple of double flats is the norm. Sharp accidentals perhaps only 20% of accidentals, its flat, flat, flat.

Viola concerto in C minor (I myself play the viola). Three movements, structure conventional. Technically, it is very demanding with lots of difficult double stops. The range does not go very high which will help the eventual soloist (not gonna be me, much too difficult). Orchestrated intelligently and very sparingly to give the soloist the front stage. We are still kind of missing the BIG romantic concerto for the viola (yes, we have Rubbra, Forsyth and Walton but not the ultimate). Could this be it? Maybe, but the complex chromatism could scare off the large audiences.

Unfortunately it is not possible (yet) to share any (computer-played) audio samples. Everything needs Schott's approval. However, the project itself is open for discussion and Schott has announced it as official. We're working overdrive and hoping that many orchestras and conductors will become interested.

World premiers for the 5th, /th (?), 8th and 9th pending, viola concerto also. 3rd: world premier of the original version. I should think that conductors would be interested in the kudos.

Maybe Johanna Senfter? Have only ever heard her 4th symphony, would very much like to hear more (anybody know of other pieces available?). Agree with Adriano that it seems unnecessary to listen to music only to find "influences". Of course, listeners with trained ears will hear echoes but then also that training just probably helps them put it all into perspective, hopefully to find something to appreciate about the "influenced" composer's highly subjective sound expressions. I said in some forum once, maybe this one, that all music must have descended from birdsong, so rather than decry a musical passage that is 'derivative' of the warble of a two-toed yellow faced whickerpoof, just listen to it or don't!

Working on her symphonies now and they will eventually be available (a 3-year project). Bruckner is often evoked because of her 4th but that does her disservice. Generally, she is very careful to observe the sonata form, less melodic, more abstract and less emotional. Funnily enough, the review of her first symphony (titled "1914") performed in 1918 mentioned that "the woman is just like Brahms, enough said". Also agree that we can always find influences but it may well be that is more a question of the style of the era. For instance, I conducted Amanda Maier-Röntgen's violin concerto a few years ago and the musicians talked among themselves how "it clearly had influences of Sibelius with also they key the same in D minor" until our flute player mentioned that it had been composed 30 years before Sibelius... Back to Senfter. I am prophesying that her symphonies will become the new "cycle of 9" within a decade.

As the person who transcribed Leiviskä's Concerto (and 1st symphony) from the remaining manuscripts (piano part messed up by the 1935 soloist and instrument parts), I am very happy that it is reaching the listeners. If anyone is interested in (mostly Scandinavian) woman composers of 1870-1960, I now have access to lots of material and our Society has engraved quite many works, too.