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If it's not too much to ask, I'd appreciate throwing a "like" or even comment on the video itself.  I know it's become cliche and I even feel a bit dirty asking, but the engagement really helps the algorithm to suggest it to more viewers, which increases the chance that someone with access to an orchestra will see it and be inspired to arrange such a performance/recording, which was always the goal of my channel.

Well, it took me almost a year before getting around to it, but I have remastered my old rendition of this piece, now using Sibelius and NotePerformer.  I hope this version is enough of an improvement to make up for the injustice I did to it the last time:

https://www.youtube.com/watch?v=I0WL_M9aRTY

It came up in a discussion on my most recent video, of the Cipriani Potter #3 (https://www.youtube.com/watch?v=g9HxbHn14kk).  Shelley recorded his #2 and #4, but the manuscript for #3 needed some cleanup, which may be why he didn't do that one.  (#1 I understand may be lost).  I may be spreading false rumors on that point, but the man is in his mid-70's at this point, so it wouldn't surprise me.

I think there's also the issue of them needing new performers.  Howard Shelley, who performed the majority of those albums, is I'm pretty sure essentially retired at this point?

The full score of the capriccio is at FLP, I think, but no such luck with the piano concerto.

So my impression of FLP is they seem to only carry physical manuscripts, and mostly only loan them out to orchestras?  Every time I've looked there they don't seem to have digital copies of anything.  I'm not sure if I'm prepared to go that deep on these.  My process involves taking a lot of notes on the score, which you can do easily on digital, but obviously that kind of thing is not okay with a paper copy.  I suppose the other option is to get someone to scan it, but I doubt they do that for free, and I don't really have a budget for this project, at least until I get enough of a following that it actually earns me money, which probably won't be for a while.

Thanks for looking into it.  IMSLP also has the Capriccio I see, but only the 2-piano version.  Definitely not the same piece, but it could be another project I could look at.

I'm not sure what to do with the links you posted, it seems only to be the card catalog entries and not the actual scores?  So maybe they have only a physical manuscript but nothing digitized?  Useful if I was in St. Petersburg maybe.  I don't read Russian, so I'm relying on the browser translation, which is less than perfect, and might have mangled some things.  (It did translate the composer's name to "iceberg", which, I guess that's probably accurate but you shouldn't be translating proper nouns like that, oh well.)

Unfortunately, I am near the other St. Petersburg (in Florida) which is about to get hit with a major hurricane, so I may be out of communication for the next several days.  Crossing fingers on that one.

I've been trying to find the complete parts for a concerto by this Ukrainian/Georgian composer.  IMSLP has a 2-piano reduction here:
https://imslp.org/wiki/Piano_Concerto%2C_Op.15_(Aizberg%2C_Ilya)

I have already transcribed it as a reduction (it's one of the first pieces I did in fact, though I never posted it as I didn't have a complete score), but obviously, I could only guess at the orchestra parts.  I've done the 2nd piano part as just a string ensemble for now, much as I did with the Borgstrom concerto, which was what brought this forum to my attention.  I'm hoping that as in that case, someone here might know how to go about finding this piece as well.  I've found very little information about him anywhere, let alone manuscripts.  I imagine that it would be found somewhere in Ukraine, and I'd guess that people there have bigger things to worry about right now, but on the off-chance anyone knows of other sources, I figured I'd reach out.

(I realize this might be borderline for the romantic era, though for what it's worth, IMSLP at least considers him to be in the Romantic Period, which seems to have lasted somewhat longer in the Soviet Union than in other parts of Europe.  I'll understand if you all feel like this is off topic here though.)

My transcription of the 2nd concerto is published, for what it's worth:
https://www.youtube.com/watch?v=AEESVF2GAgo

Try this extract:
https://www.youtube.com/watch?v=JazSKSYZ0QY

What a wonderful, sparkling work this is!

Yes, I saw that a little while ago, and liked it enough that I linked it from a pinned comment on my own rendition.  I am considering "remastering" some of the pre-MuseScore transcriptions I did, and this one would be top of the list - it's not too big a deal to export to MIDI and re-import into MuseScore, which would definitely improve the sound.  There would likely be about a week's worth of cleanup and polish to get it up to my current standards though, so that would have to be in place of posting something new.

The problem is the quotes don't mean what they used to mean.  It used to mean "find this string, verbatim".  Now it means "exclude results without this string or something like it since you probably can't spell.", which used to be the job of the "+" operator.

It's also highly biased towards popular search results, hence Brahms and Bach, who just about everyone knows, getting billed over Brambach, who is mostly unheard of outside of niche communities like this one.

It's like when I was looking up info about Theodore Thurner and Google kept insisting that I meant media mogul Ted Turner.  Or way back when I did the Carl/Caspar Brambach concerto, and kept getting results for Brahms and/or Bach.  (Didn't help nobody seemed to agree on his first name either.)

At any rate, I think I have everything I need on Mr. Street, unless I decide to try and track down his first concerto as well.  Given all the negative feedback I see about him, I'm not sure if there'll be enough interest in that, but we'll see how it goes once people get a listen of this one.  I'll admit it's hardly a groundbreaking work, but it has its moments.

Alright, no rush or anything, just for posterity.  I have noticed that a lot of the scores I see on IMSLP do have library markings, but they're not cropped out because they stamped them right on top of the music.  I assume when a piece is old enough that it's in public domain (and often old enough that the publisher doesn't even exist anymore), that sort of thing shouldn't matter as much.  Also I don't think you have to post the entire score?  Seemed it was possible to just replace the wrong pages the last time, I imagine they can be just inserted in a case where they're missing?  Not sure how that's done.  It was cypressdome who made that fix, for what it's worth.

Anyhow, I'll post a link here when the transcription is done.  Shouldn't be as hard as the last one...

Ah, yes the pages are there, thanks.  That saves me from having to send my dad on a mission for it.  I assume the 14 extra pages instead of just 2 is because it includes things like the front and back covers, and some title and blank pages at the beginning and end.  I did check the entire thing when I found the missing pages to make sure there were no others, and it was just those two.  Are you able to submit a correction to IMSLP, as someone did with the Thurner?  I don't need it for me of course, I just like to correct things when I find them in case anyone else wants to perform this at some point.

Hmm, I may have a possible connection to the Boston Public Library, as my father is a state college professor near Boston (not in music, but he might still be able to get access to the library).  He's also in a wind band at the school if they need an orchestra connection (they couldn't play this of course, having no string section, but it might help).  He doesn't even need to check the book out - simply photographing the 2 missing pages would be enough.

One of the bigger problems in searching is this guy's name.  It just so happens that the Canadian Music Centre, a major source for orchestral manuscripts, is apparently located on Joseph Street in Toronto, so nearly every search result points there.  (They do not appear to have it.)  Presumably it would be somewhere in the UK since he was English.

The music doesn't suffer all that much from the missing pages - I was already on around page 200 or so before I noticed the measure-count was off and traced it back, and found some notes on the end of page 33 that are tied to nothing.  There's a bit of a thematic jump, but after all the dramatic unexpected changes in the Thurner, I guess I've become numb to that?