It all boils down to a combination of Money and Taste
What will sell in sufficient quantities (even if small quantities to a niche market) to finance other projects and keep the accountants content (if not exactly happy
)
And what does the owner/s of a small or smallish company like
The late Ted Parry of Hyperion liked Robert Simpson's music, ergo.......
Mike Dutton of the eponymous company needs to be persuaded by Lewis Foreman that a composer is "worth" recording.
Burkhard Schmilgun at CPO will get almost anything recorded with a little persuasion and once committed will record everything he can of that composer's music using radio orchestras which have contracts with their musicians which allow them to be used without extra payments. (The idea of recording all the Searle symphonies actually came from the then CEO/MD of the BBC Scottish Symphony Orchestra
).
The trouble with Rosenberg will be Symphonies Nos. 4 and 5 which require soloists and choruses-they cost more money
Maybe Klaus Heymann at Naxos has the money required
But at the moment he is on a "let's record every single note ever written by Penderecki and Casella" kick (which is no bad thing, I hasten to add, except that Chandos are also on a Casella-spree
).
At the end of the day though it really does come back to money
