If anyone listened to this and wondered what was going on not finding the advertised programme, it was not actually broadcast as scheduled as the presenter was snowbound somewhere and could not get in to the studio! Winter has arrived early in NZ. The programme will be broadcast at a later date, if I get any information on this I will post it here.

Last October I participated in a concert of various composers for Nicolas Bacri's CANTUS FORMUS and this concert is to be broadcast on 23rd May 2013 on Radio New Zealand Concert at 8.00pm NZ Time. Link to Radio NZ site: http://www.radionz.co.nz/concert/schedules/20130528

In France there's Patrice Sciortino.

Here is the webpage with videos for the oboist Marika Lombardi. The composers posted so far include Potter, Jolivet, Vaughan Williams, Keay & Gurvitch.

Here is part of my Trio for Clarinet, Viola & Piano recorded in October 2012. In fact I just got hold of the video last week so have uploaded a couple of movements. Hoping that you all enjoy it. It's available on the CD "Music for Small Groups" (played with a different clarinetist and pianist).

I'm wondering what you have playing back the MIDI file? In any case I'm assuming it's some sort of general midi computer playback. What you need to do is use the midi file just for its commands (e.g. note-on, note-off etc.) particularly in the case of the percussion. I'm guessing that to get good percussion sounds you may have to buy some sort of library. These are triggered by the sequencer then these are what'll be recorded. I'm not the best-placed to help you as I don't work with sound libraries, but I work with a DAW for audio recording so understand the principles.

I'm not a Finale user, only Mosaic then Sibelius, and even with Sibelius I never bothered loading all the sounds for playback; i just use the general MIDI sounds to check the notation.
If you have composed the music in Finale and ultimately want a good sounding recording, maybe you have to consider saving as a MIDI file then load that into a sequencer (DAW) to drive a satisfactory sounding bank of instruments.

The French composer Aubert Lemeland has a considerable output around the WW2 theme. There's the Tenth Symphony Letters from Stalingrad but also works such as Memorial - Dieppe 19-08-1942 op.158 for orchestra.

Just thought I'd mention that I heard "Echecs, suite for piano op.96 (1957) in a concert on Saturday. Performed by Quentin Meurisse this was the French premiere and was in a Cantus Formus concert organized by Nicolas Bacri. It was an interesting concert, a diverse range of works for piano including; Trois Allégories by Chrystel Marchand, and Patrice Sciortino's "Catatoc".

I found a review from 1987 (NZ Listener, Dec 5):

The NZSO was conducted by Francisco Feliciano from Manila, whose impressive work with new scores made a great impact at the Asia Pacific Festival. Attending orchestral rehearsals during the week, I was struck by his utter professionalism, his integrity and the easy way he provided the link between composers and orchestra.

That was written by Elizabeth Kerr who in recent times has been Manager of the NZ String Quartet. I scanned an extract of the programme. I also have an audio copy of Francisco Feliciano talking about this event to Radio NZ.

Thanks, cjvinthechair!

The version of my Diffractions with Francisco Feliciano conducting is on my youtube channel: contemporaryviola. The original audio was not high quality as it was taken from an old cassette tape (even a copy of that).

Quite a coincidence to see the name L. Kasilag mentioned there; I listened to the Violin Concerto a couple of days ago after searching on youtube for Francisco F. Feliciano who conducted, and is himself a composer. I don't have any recordings by Francisco Feliciano but know him as a conductor; he conducted the NZSO performance of my concertante work, Diffractions, in Wellington in 1987. He did a superb job and it remains a high point amongst the interpretations I've had.

From memory Lucrezia Kasilag came to Wellington, NZ for the Asia-Pacific Festival in 1984, and would have had music presented in a concert there.

It certainly appears there's very little that made it onto recordings now available. I was involved in getting his 2005 Aubade for Oboe & Piano, which is a really fine work, onto a CD in 2010 (Diversions autour du hautbois)  Then there's a reference to him having a work on a 1968 recording (Phillips Records) - the paragraph starting "The Concerto for Percussion was written in 1968...." 
The only work other than Aubade I've heard by the composer is the Partita for Trumpet & Piano - an mp3 sent via email!

I can add Geoffrey Grey to the list, born in 1934.

Is it possible that there's confusion between streaming and downloading here? Or am I just being pedantic in mentioning this? Certainly there's a distinction as far as royalty collection and the performing rights societies (PRS) are concerned. Certain musicians have complained about the meagre return in royalties from youtube. I'm guessing that one stream is seen by the PRS as the equivalent of one listener listening via a radio broadcast. I've read recently that there's software to save a stream to disk (haven't used it myself), but if there's nothing left stored on one's HD after quitting youtube then it's not a download, no?

I can think of good reasons why one might want to use the extra saving to disk software, as in the case of a rare performance where it wasn't certain that the recording was sure to stay on youtube, so catch it while you can.

Youtube is also a search engine, so who doesn't (producing music) want to be visible there?