A perhaps more correct observation would be, that Chandos opted for the more conservative names - mostly long neglected, as e.g. Dopper, Voormolen, even Hol, the peculiar choices Chandos made met with general disapproval and even embarrassment, in Dutch musical circles - just because of the long dominance of Modernism. The same applies to CPO, with their choice for e.g. Van Gilse, Röntgen, Badings and Andriessen, all long neglected for similar reasons. Overall, one cannot say that Modernism came later in the Netherlands than in Belgium; in e.g. painting and music it might even be the other way around.

(I'm not claming that Modernism is something 'better' or of higher interest; my own interest lies more with Neoclassicism in the broader sense and I personally prefer Andriessen and Badings over their more 'modern' contemporaries. Just trying to make a historical observation).  ;)

Not yet, but hope to find the funds for it in a few weeks time. I am planning to buy it for the same reason Colin (Dundonnell) mentins: the historical 1947 performance of the First Symphony - from 1930, an early work - on Etcetera leaves much to be desired. Another good reason might be the Ballet Suite ('Ballet-suite') for orchestra from his vintage years (1947). I don't think I ever heard the piece before.

I happen to have a cd with the Requiem by Alfred Desenclos, performed by director Joel Shubiette, chamber choir Les Eléments and the organ played by Frédéric Desenclos in the Notre Dame du Taur in Toulouse (Hortus 009).
The work must be relatively wellknown then. Hard to believe anyone else could ever claim it as his own.  ???

I own both sets and generally speaking - since I did'nt play them in years - see them as complementary, both with their own merits and without a clear winner. I grew up with Järvi - bought them one by one when they appeared in the 1980s and was thrilled at every occasion -so his series is my 'standard'. Yet, Volmer is equally good, and some of his individual performances can be considered even 'better' than those pioneering ones by Järvi.

If I find time, I'm willing to try a symphony-by-symphony review, as I once did elsewhere (but I don't dare repeat it now, as I don't have any recent listening experiences to share).

Great to learn that Perosi - I only owned an LP with some of his Masses in the past, otherwise he's probably unplayed in my country - is from Tortona. I was staying there with friends for a weekend, last year, on our way back home from a longer stay in Pistoia. And liked it. :-)

In that case, we (sorry for interfering :-)) at least share a love for: Shosta, Bartók, RVW, Ravel, Villa-Lobos, Stravinsky, Debussy, Ginastera, Dutilleux, Tippett, Tubin, Szymanowski, Honegger, Janáček, Pärt, Martinů, Rubbra, Nielsen, Barber, Casella, Mussorgsky, Tchaikovsky, Enescu, Langgaard, Arnold.
And I cannot say I dislike any of the dozen or so other names in your list. Yet, one of my personal favourites - fitting nicely in this company I'd say - is Vagn Holmboe.  :D

Welcome here! And great to learn that some of my own musical loves - RVW being the most consistent over the past 37 years, and Nielsen a personal favourite since around 1990 - are being shared at the other side of the big pond. Hope to share our musical enthusiasms in the near future!  :)

You can. If I may. #No.7

Both are 'Russian' - in the often complex meaning of that qualification.  ;D

My two cents.  ;)

In most cases, the solution is rather obvious. "Soviet composers" should be categorized according to the present nationalities, which happen to be former republics too, so in most cases the solution is obvious. Of course there are a few 'Russians' born in Ukraine for example, as e.g. Reinhold Gliere, who should be considered Russian. But even Khatsaturian, who was born in Georgia and made his his career in Moscow, is best understood as an Armenian.

The hardest cases are the ones you mention from the former Habsburg realm, like Karol Rathaus. In his case something like 'Austrian-Polish' is almost unavoidable. Often, one's self-identification would provide the best clue: Chopin wanted to be Polish, so he was; the same applies to Stravinsky, or indeed Julius Röntgen.  ;D

Done. Still waiting for his response.  :)

Work in already in progress on the Download thread. More than I can digest, but I'll do my best.  :D

Another complication might be the quality of any recordings. Ten years ago while in Cairo I bought some cd's with music by Egyptian composers (the only one I'd ever heard of was Halim El-Dabh). The biggest disappointment was'nt the music - most of it rather folksy - but the bad recording quality. Even from the 1980s and 1990s they sound absolutely 'canned'. I'm talking about composers like Attiya Sharara, Gamal Abdel-Rahim, Awatef Abdel-Kerim a.o.  :'(

 :D Isn't 'We want more cycle lanes' a great poëtical find then?  ;D

I hate to be negative about music other people clearly love, and why should one be bothered by Bad Music when there's so much great music around and so much I still have to learn and to acknowledge? Let me make one exception though.  ;)

Four years ago, I was exposed - serving coffee and wine as a volunteer - to a performance of The Armed Man: A Mass For Peace by Karl Jenkins. I found it abysmal, the worst and most rambling composition I ever heard. Most intriguing was the audience, some five hundred of them, who had a wine party afterwards. The air was full of praise and admiration for two hours on. A very instructive experience.  ;D