Great!  I will buy this when I get some cash. 

Does anyone have a recording or more info about Soderlind's opera, Saga King?  This is very intriguing but it is from 2002 and internet searching turns up nothing:
Ragnar Søderlind’s score is for a full orchestra without electronic elements or Viking-type buck horns. “There are enough problems without that,” he says. But he allows the Wagnerian tuba to represent the pagan element and the organ to represent Christianity. The musical contrasts are extreme, in the characterisation, too. While Olav begins melodiously, he ends in a more modernist, abrupt style that expresses his hubris.

The tonality is modern, but the format is more in the Puccinian than the Wagnerian tradition. There are arias and monologues that promote the action, passionate love scenes and theological debates, a seamen’s choir, storm and calm, battle and prayer, pagan dance at the sacrificial site, fire and sea battles – as dramatic and violent as any action film.

“Can the audience hum anything as they leave the auditorium?”
“Thyra’s cradle song for Harald is hummable. It must be the first cradle song to be written by a classical composer in Norway since World War II!” responds Søderlind with a smile.
http://www.listento.no/mic.nsf/doc/art2002092014173851392996

I enjoyed the No. 4 and appreciated his large scale sense of structure.  This composer is *not* a miniaturist.  :P I like long breathed works that transform and develop over time and he shows strict use of form.  The trio-scherzo even has a literal repeat which is unusual these days since composers were stretching/pulling/revolting from the strict rules for some time.  Interesting.  Some of it seemed like old school swashbuckling film music which isn’t a knock against it, just an observation.  It actually takes some guts to write in an old fashion style and it clearly has found some level of embrace.   Overall, not the kind of music I tend to seek out but thanks for recommending this interesting composer.  I’ll keep an eye/ear on him.

I totally agree.  I have his CD of the above Fantasy Concertante, Organ Concerto, and Symphony No. 1 and it is a very exciting disc.  I also find some commonalities with Rachmaninoff, Honegger, and Vaughan Williams (in austere mode) but Escaich remains distinctly his own without abandoning tradition.  I would like to hear his Concerto for Orchestra but can't find it available.  Maybe the Psalmos will be broadcast/recorded?

Thierry Escaich : prolific organ composer but his orchestral works are quite exciting like this:
http://youtu.be/zmh2k-wJvX4

His website:
http://www.escaich.org/en/

This is a youngish composer worth exploring.

Are you familiar with Thierry Escaisch?  Similar style to Gyongyosi but I find the music more compelling and much harder to shake off its grasp.  I'll create a thread for him so as not to muddy up your thread with different composers.

I have listened to the new Lyrita Wordsworth a few times now.  I think the Symphony No. 5 is a wonderful and substantial work that I found thoroughly engaging.  The Symphony No. 1 is ok but one of the issues I have with this composer is that the works sound so similar.  I thought the Symphony No. 5 was another movement of the Symphony No. 1.  Compare this with Vaughan Williams who casts a very long shadow on 20th century British symphonists and there is a good reason why.  Great artists really need to traverse tremendous ground and the best do.  But I still consider this a very worthy purchase for No. 5.

I listened to his symphony No. 1 and piano concerto and found these unmemorable and very traditional.  Is there something that you recommend?  Otherwise I would categorize him as showing potential rather than "very gifted".

Where does Berio fall in?  To me, this is a quote or homage but his website says it is a mimic which implies it is original but evokes the feel of the source material, but clearly we hear Mahler note for note but it is a deliberate reference without intent to deceive unlike Tristan Foison. 

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

I believe An homage is legal.   So if you quote a pre-existing work that is Copyrighted, if you acknowledge it as of the different  Composer or author and not claim it as your own original, I think that is legal.

Also very interesting is the story of the deaf Japanese composer who wrote massive symphonies just a few years ago and it turns out he faked the whole thing and someone else wrote the music...he isn't even deaf having faked it all.   I thought this was an extremely interesting story because it also covered Japanese culture, public apologies in front of the media as part of their deception, honor, ghost writing, everything.

Even with a steady stream of Naxos releases?   I really enjoy some of them.

Cheers Albion!  The Missa Cambrensis was an excellent discovery and I look forward to hearing more so thanks for posting!

Tobias,

You own a unique niche in the classical market niche of forgotten violin concertos.  Though I have nothing else to say about this, I just wanted to point out that I appreciate your interest in this area and keep an eye on it even though I add nothing to it.  Cheers.

I am reporting back after listening to this CD.  It is probably the best of the Jarvi/Chandos set (so far) I am happy to say.  I own all four volumes and they have excellent recording sound but miss the magic of the composer partially due to an unidiomatic tempo that doesn’t serve the feel and breadth of the music.  This music is long breathed and like Rachmaninoff, the structure and unfolding of the themes should not be rushed but indulged.  The previous three volumes felt as if Jarvi was not particularly fond of this music.  In volume 4 (Symphony No. 3 “West Coast Pictures”), the pacing is much more carefully considered.  The playing and sound is gorgeous with counterlines and inner details perhaps heard best in this recording.  I like the prominence of the harp and celesta in the mix.  I can tell the recording is live from a concert (there are a few very minor performance issues that would have been fixed in a studio) but it seems the benefit of the live performance was the heightened spontaneity.  I don’t think this recording will knock Sixten Ehrling's https://www.amazon.com/gp/product/B004RLMCOK recording from the top of the pile but it seems all the versions we have of this gorgeous work are excellent so the competition is fierce. 

The second half of the CD are all premiere recordings. 

The next piece is “Three Nocturnes from Fanal”.  The title of nocturnes implies slow music but this is exciting and robust theatrical music.   Atterberg would have made a great film composer.  This suite reminds me of the music of Korngold of this same era or Vaughan Williams Elizabethan suite and is consistently exciting and lovely.   I don’t know how much more of Atterberg’s music is unreleased but it would be so nice to hear the opera in its entirety given how cinematic and theatrical his style is.

The final work is Vittorioso which was originally composed as part of his Symphony No. 7.   Interestingly, the Symphony No. 7, Nocturnes, and Vittorioso are all based on material from the opera “Fanal” so Vittorioso can either serve as a fourth movement to the suite or a dramatic fourth movement to the symphony. 

This is an excellent CD and probably my favorite of this series.

The Symphony was recorded live in concert in 1997 and the remaining works were studio recordings from 2015 and the sound is consistent and up to Chandos’s usual high standards. 

Wow, I missed that detail.  I bought the recording but haven't yet heard it...will listen tomorrow and report back.  What impact do you think that this being a 19 year old performance has on the interpretation?

Well, this is interesting.  The new Chandos/Atterberg volume 4 seems to have reasonable tempi. 

https://www.chandos.net/details06.asp?CNumber=CHAN%2010894

One of the problems I had with the previous iterations of this cycle was the tempo was not stylistically informed but here it might be.  The audio sample sounds really, really good too.