There are a number of compositions, initially withdrawn by their composer, which, in my view at least, deserve to be heard. Here are a few:
Samuel Barber: Symphony No.2 (I think this is a worthy successor to the fine 1st Symphony). Barber only allowed the central movement to be performed as a separate work 'Night Flight' (Barber served in the USAAF in WW2 and was also influenced by the writings of the French aviator Antoine de Saint Exupery)
Lars Erik Larsson: Symphony No.2 (I think that he withdrew all three)
Vaughan Williams: Piano Quintet
Vaughan Williams: Many sections, especially towards the end of the 1913/1920 version of A London Symphony (which the composer said sounded like 'a bad hymn'). Although the symphony itself was not withdrawn.
Any other suggestions?
Quote from: vandermolen on July 07, 2023, 11:21:56 PMThere are a number of compositions, initially withdrawn by their composer, which, in my view at least, deserve to be heard. Here are a few:
Samuel Barber: Symphony No.2 (I think this is a worthy successor to the fine 1st Symphony). Barber only allowed the central movement to be performed as a separate work 'Night Flight' (Barber served in the USAAF in WW2 and was also influenced by the writings of the French aviator Antoine de Saint Exupery)
Lars Erik Larsson: Symphony No.2 (I think that he withdrew all three)
Vaughan Williams: Piano Quintet
Vaughan Williams: Many sections, especially towards the end of the 1913/1920 version of A London Symphony (which the composer said sounded like 'a bad hymn'). Although the symphony itself was not withdrawn.
Any other suggestions?
How odd! Not only performed, but Barber recorded his 2nd Symphony in England. After which he withdrew it. A footnote - Dedicated to the US Army Air Force.
Sibelius' Kullervo is work withdrawn by the composer that is pretty much part of the "standard canon" now.....
Quote from: Irons on July 08, 2023, 12:28:23 AMHow odd! Not only performed, but Barber recorded his 2nd Symphony in England. After which he withdrew it. A footnote - Dedicated to the US Army Air Force.
Yes, you have that LP. I think that he was wrong to withdraw it.
Quote from: Roasted Swan on July 08, 2023, 12:35:27 AMSibelius' Kullervo is work withdrawn by the composer that is pretty much part of the "standard canon" now.....
Similar speech for Zemlinsky's
Die Seejungfrau.
Quote from: Roasted Swan on July 08, 2023, 12:35:27 AMSibelius' Kullervo is work withdrawn by the composer that is pretty much part of the "standard canon" now.....
Oh yes! Totally agree with this.
Quote from: Lisztianwagner on July 08, 2023, 03:33:14 AMSimilar speech for Zemlinsky's Die Seejungfrau.
I didn't know that Zemlinsky had withdrawn it! It's probably my favourite of his works. How interesting!
Elgar's 3rd Symphony (for different reasons) also comes to mind. Personally I'm very glad that it was not destroyed.
Quote from: vandermolen on July 07, 2023, 11:21:56 PMSamuel Barber: Symphony No.2 (I think this is a worthy successor to the fine 1st Symphony). Barber only allowed the central movement to be performed as a separate work 'Night Flight' (Barber served in the USAAF in WW2 and was also influenced by the writings of the French aviator Antoine de Saint Exupery)
According to Wiki, there was an understanding that the US Army would receive all of the royalties from it. I wonder if that did happen and for how long and if that applied to his "Night Flight"? Also curious as to who authorized its release?
PD
Quote from: vandermolen on July 08, 2023, 03:47:24 AMI didn't know that Zemlinsky had withdrawn it! It's probably my favourite of his works. How interesting!
Elgar's 3rd Symphony (for different reasons) also comes to mind. Personally I'm very glad that it was not destroyed.
I didn't think that Elgar had ever finished his third? My understanding is that Anthony Payne worked on creating one from sketches that Elgar had left when he died. Or was there ever a complete one of the symphony which "disappeared"?
PD
I don't know if this qualifies but George Rochberg's original version of the violin concerto is superior to published version. He got rid of 10 or so minutes and revised it to be more practical but the original is more sweeping and symphonic in scale.
Quote from: Pohjolas Daughter on July 08, 2023, 05:40:22 AMI didn't think that Elgar had ever finished his third? My understanding is that Anthony Payne worked on creating one from sketches that Elgar had left when he died. Or was there ever a complete one of the symphony which "disappeared"?
PD
According to Wiki, Elgar left 130 pages of sketches of the 3rd which Payne spent years on completing it in 1997, officially known as "Edward Elgar: the sketches for Symphony No 3 elaborated by Anthony Payne" or in brief "Elgar/Payne Symphony No 3". I looked through the sketches and they range from full score to piano score to sketches and then fragments. Attached is an example from the Adagio. About half the sketches are at this level of completion. One of the challenges Payne would have is that these might not be linear or it might be multiple versions of ideas and the composer in their process hasn't decided which to use. Clearly judgements are made and some of the gaps have to be composed.
I think this is in worse shape than Mahler's 10th which has two and a half movements in full score but the whole thing in draft. So all the hundreds of versions of it still line up with every bar Mahler wrote but the harmony, dynamics, ornamentation, instrumentation and sometimes accompaniment might vary. With Elgar/Payne 3, you can image that material had to be invented to connect or develop ideas but again, some of it is fully flushed out. I would describe this as Payne writing in the style of late Elgar to complete a possible interpretation (approximation) of what Elgar might have done.
I think other interesting examples are Havergal Brian's Vision of Cleopatra. The full score was lost but the vocal score survived and includes a piano reduction of the full score. From that piano reduction, composer John Pickard recreated a full score in the distinctive style of early Havergal Brian to create a performing edition. It is not Brian's original but uses the music Brian composed and was orchestrated in that contemporariness style. The same might be done with what Brian considered to be his masterpiece, the lost four hour long setting of Percy Shelley's Prometheus Unbound. Similarly, the full score was lost but the vocal score with piano reduction survives.
Quote from: Pohjolas Daughter on July 08, 2023, 05:40:22 AMI didn't think that Elgar had ever finished his third? My understanding is that Anthony Payne worked on creating one from sketches that Elgar had left when he died. Or was there ever a complete one of the symphony which "disappeared"?
PD
No - you are quite right PD.
Quote from: relm1 on July 08, 2023, 06:07:31 AMI don't know if this qualifies but George Rochberg's original version of the violin concerto is superior to published version. He got rid of 10 or so minutes and revised it to be more practical but the original is more sweeping and symphonic in scale.
I think that qualifies :)
Quote from: relm1 on July 08, 2023, 06:09:44 AMAccording to Wiki, Elgar left 130 pages of sketches of the 3rd which Payne spent years on completing it in 1997, officially known as "Edward Elgar: the sketches for Symphony No 3 elaborated by Anthony Payne" or in brief "Elgar/Payne Symphony No 3". I looked through the sketches and they range from full score to piano score to sketches and then fragments. Attached is an example from the Adagio. About half the sketches are of this level of completion. One of the challenges Payne would have is that these might not be linear or it might be multiple versions of ideas and the composer in their process hasn't decided which to use. Clearly judgements are made and some of the gaps have to be composed. I think this is in worse shape than Mahler's 10th which has two and a half movements in full score but the whole thing in draft. So all the hundreds of versions of it still line up with every bar Mahler wrote but the harmony, dynamics, ornamentation, instrumentation and sometimes accompaniment might vary. Here, you can image that material had to be invented to connect or develop ideas but again, some of it is fully flushed out.
Most interesting - Thank you.
Rachmaninoff - Symphony No. 1
I think the granddaddy of all withdrawn works that should have been heard is Sibelius No. 8...NOT the fragments originally marketed as fragments from that work! It would have been an hour long choral symphony...a perfect bookend to Kullervo and as Sibelius described it, the culmination of his life's work as a composer.
Quote from: relm1 on July 08, 2023, 06:09:44 AMAccording to Wiki, Elgar left 130 pages of sketches of the 3rd which Payne spent years on completing it in 1997, officially known as "Edward Elgar: the sketches for Symphony No 3 elaborated by Anthony Payne" or in brief "Elgar/Payne Symphony No 3". I looked through the sketches and they range from full score to piano score to sketches and then fragments. Attached is an example from the Adagio. About half the sketches are at this level of completion. One of the challenges Payne would have is that these might not be linear or it might be multiple versions of ideas and the composer in their process hasn't decided which to use. Clearly judgements are made and some of the gaps have to be composed.
I think this is in worse shape than Mahler's 10th which has two and a half movements in full score but the whole thing in draft. So all the hundreds of versions of it still line up with every bar Mahler wrote but the harmony, dynamics, ornamentation, instrumentation and sometimes accompaniment might vary. With Elgar/Payne 3, you can image that material had to be invented to connect or develop ideas but again, some of it is fully flushed out. I would describe this as Payne writing in the style of late Elgar to complete a possible interpretation (approximation) of what Elgar might have done.
I think other interesting examples are Havergal Brian's Vision of Cleopatra. The full score was lost but the vocal score survived and includes a piano reduction of the full score. From that piano reduction, composer John Pickard recreated a full score in the distinctive style of early Havergal Brian to create a performing edition. It is not Brian's original but uses the music Brian composed and was orchestrated in that contemporariness style. The same might be done with what Brian considered to be his masterpiece, the lost four hour long setting of Percy Shelley's Prometheus Unbound. Similarly, the full score was lost but the vocal score with piano reduction survives.
Thank you! :)
Quote from: relm1 on July 08, 2023, 06:31:12 AMI think the granddaddy of all withdrawn works that should have been heard is Sibelius No. 8...NOT the fragments originally marketed as fragments from that work! It would have been an hour long choral symphony...a perfect bookend to Kullervo and as Sibelius described it, the culmination of his life's work as a composer.
Was the Sibelius work actually "withdrawn"? To me (and please correct me if I am wrong here) that means that the composer asked his publisher to stop printing it. What criteria are we going by here (
@vandermolen)? :)
PD
p.s. And I just double-checked as I was thinking that Sibelius burned whatever he had written of it (according to Wiki, it says that his family said that he burned it in 1945--what he had written of it). Why didn't he just dump it in the trash barrel for pickup--and then reach in late at night and pull it out--like the rest of us do? ;)
Quote from: vandermolen on July 08, 2023, 03:47:24 AMI didn't know that Zemlinsky had withdrawn it! It's probably my favourite of his works. How interesting!
Yes,
Die Seejungfrau was very well received at the premiere (though rather overshadowed by the scandal of Schönberg's
Pelleas und Melisande), but after few performances in Berlin and Prague, the composer withdrew the work and for many years after Zemlinsky's death the score was thought to be lost; Zemlinsky always championed the music of his contemporaries, but he was a poor champion of his own compositions. I agree that's a pity,
Die Seejungfrau is a masterpiece.
Quote from: Pohjolas Daughter on July 08, 2023, 06:39:09 AMThank you! :)
Was the Sibelius work actually "withdrawn"? To me (and please correct me if I am wrong here) that means that the composer asked his publisher to stop printing it. What criteria are we going by here ( @vandermolen)? :)
PD
p.s. And I just double-checked as I was thinking that Sibelius burned whatever he had written of it (according to Wiki, it says that his family said that he burned it in 1945--what he had written of it). Why didn't he just dump it in the trash barrel for pickup--and then reach in late at night and pull it out--like the rest of us do? ;)
My original criteria was completed works (Barber's Symphony No.2. for example), which were subsequently withdrawn by the composer but I don't mind if others interpret it differently.
Quote from: Pohjolas Daughter on July 08, 2023, 06:39:09 AMThank you! :)
Was the Sibelius work actually "withdrawn"? To me (and please correct me if I am wrong here) that means that the composer asked his publisher to stop printing it. What criteria are we going by here ( @vandermolen)? :)
PD
p.s. And I just double-checked as I was thinking that Sibelius burned whatever he had written of it (according to Wiki, it says that his family said that he burned it in 1945--what he had written of it). Why didn't he just dump it in the trash barrel for pickup--and then reach in late at night and pull it out--like the rest of us do? ;)
I take "withdrawn" to mean somewhere, somehow the work was pulled out of availability. That might be because the creator of it rejected it or it was pulled by the publisher. I'd also add in some cases the work was just lost and "withdrawn" from availability because it was destroyed or just lost.
Sibelius was a manic depressive and alcoholic and was wrestling with his demons. One of which was clearly self-doubt. Need I say more? He thought (most likely in a drunk or manic episode) it was garbage and not worth ever hearing.
Quote from: Florestan on July 08, 2023, 06:21:42 AMRachmaninoff - Symphony No. 1
An excellent choice! Of course, it's my favourite of his symphonies!
Quote from: Florestan on July 08, 2023, 06:21:42 AMRachmaninoff - Symphony No. 1
I would nominate the original version of
Rachmaninoff's Fourth Piano Concerto, which solves some of the abruptness here and there in the final revision.
On a
Sibelius recording of some sort by
Eugene Ormandy and
The Philadelphia Orchestra, the conductor told of his visit to
Sibelius in Finland in the 1950's.
Ormandy, of course, asked about the
Symphony #8's status.
The daughter of the composer was there, and apparently during the composer's hesitation of what to answer, she urged her father: "Tell the man, Father."
Sibelius then said: "There will be no
8th Symphony," and
Ormandy commented to the writer of the notes: "He seemed very relieved."
Yes, I have also read that brain damage from alcoholism and senility were probably involved in the inability of the composer to produce anything in his last decades.
Quote from: relm1 on July 08, 2023, 04:14:55 PMI take "withdrawn" to mean somewhere, somehow the work was pulled out of availability. That might be because the creator of it rejected it or it was pulled by the publisher. I'd also add in some cases the work was just lost and "withdrawn" from availability because it was destroyed or just lost.
I was thinking more about the meaning of withdrawn and why some pieces of music are either never played/performed again (or at least not until after the composer has died)...and, yes, works can also be lost or accidentally destroyed or purposefully destroyed. I'll be a bit of a Devil's advocate here by asking this question: Is a work of music really a work of music if it hasn't been completed (according to the composer)? :)
PD
Quote from: Cato on July 08, 2023, 05:12:32 PMI would nominate the original version of Rachmaninoff's Fourth Piano Concerto, which solves some of the abruptness here and there in the final revision.
On a Sibelius recording of some sort by Eugene Ormandy and The Philadelphia Orchestra, the conductor told of his visit to Sibelius in Finland in the 1950's. Ormandy, of course, asked about the Symphony #8's status.
The daughter of the composer was there, and apparently during the composer's hesitation of what to answer, she urged her father: "Tell the man, Father."
Sibelius then said: "There will be no 8th Symphony," and Ormandy commented to the writer of the notes: "He seemed very relieved."
Yes, I have also read that brain damage from alcoholism and senility were probably involved in the inability of the composer to produce anything in his last decades.
Any recommendations of Rach's #4 original version? Curious to check it out as I'm a fan of his. I read a bio of Sibelius and it paints a bleak picture of the man. There was clearly something wrong with his mind and maybe the alcohol was self medication, but I still have hope that someday the No. 8 might surface because he did send copied scores to Koussevitzky meaning it probably went to a copyist to be prepared. There just might be other copies out there. Where things get tricky is most of these companies cease to exist or are absorbed in to other companies over the years and it's not always clear what they've inherited. It might be sitting out there, and no one knows they have it. It also opens up the very interesting question of when is it time as a great artist to hang up the phone. Some composers, like RVW compose up to the very end with no diminution of talent. I wonder if there are others who really should have quite decades earlier, and they might be better regarded by posterity. Are there any examples of great composers who should have stopped composing decades before they did? Maybe Markovich but don't know if he would count because he had a dual career as composer/conductor and then just focused on conducting.
Quote from: relm1 on July 09, 2023, 06:14:18 AMAny recommendations of Rach's #4 original version? Curious to check it out as I'm a fan of his.
Try this:
Kent Nagano conducting the
Montreal Symphony Orchestra with
Alain Lefevre.
Quote from: vandermolen on July 07, 2023, 11:21:56 PMLars Erik Larsson: Symphony No.2 (I think that he withdrew all three)
At one point BIS had recorded all three of Larsson's symphonies. I clearly remember Capital Public Radio(Sacramento, CA) playing the Larsson No. 2 - primarily because they were playing anything by Larsson.
Quote from: vandermolen on July 07, 2023, 11:21:56 PMAny other suggestions?
Off the top of my head
Anything by Peter Mennin. I know Symphonies 1 & 2 have been withdrawn, but there might be others.
Anything by Allan Pettersson.
Quote from: Nunc Dimittis on July 09, 2023, 07:00:21 AMAt one point BIS had recorded all three of Larsson's symphonies. I clearly remember Capital Public Radio(Sacramento, CA) playing the Larsson No. 2 - primarily because they were playing anything by Larsson.
CPO has a full cycle now as well, with lots of other orchestral works as filler.
It would be great if the incidental music that Pierre Boulez composed for productions by Jean-Louis Barrault —L'Orestiade, Ainsi parlait Zarathoustra— were recovered. The score of first one seems to have been destroyed during the storming of the Théâtre de l'Odéon in May 68, though :( .
Quote from: relm1 on July 09, 2023, 06:14:18 AM... but I still have hope that someday the No. 8 might surface because he did send copied scores to Koussevitzky meaning it probably went to a copyist to be prepared.
Oh, interesting! May I ask where you read that he had sent scores to Koussevitzky? And by scores (plural), was he asking him for advice...as in which parts/versions he liked better? This is news to me! :) If so, maybe it (they?) will turn up in some of K's possessions?
PD
EDIT: I just ran across this lengthy article. According to it, it does not sound like he ever sent off any/all of it to Koussevitzky. Quite interesting reading though. https://relatedrocks.com/2015/05/13/sibeliuss-eighth-symphony-fact-and-fiction/
Quote from: relm1 on July 08, 2023, 06:31:12 AMI think the granddaddy of all withdrawn works that should have been heard is Sibelius No. 8...NOT the fragments originally marketed as fragments from that work! It would have been an hour long choral symphony...a perfect bookend to Kullervo and as Sibelius described it, the culmination of his life's work as a composer.
This is the first I have heard that it was a choral symphony. Source?
Quote from: relm1 on July 09, 2023, 06:14:18 AMAny recommendations of Rach's #4 original version? Curious to check it out as I'm a fan of his. I read a bio of Sibelius and it paints a bleak picture of the man. There was clearly something wrong with his mind and maybe the alcohol was self medication, but I still have hope that someday the No. 8 might surface because he did send copied scores to Koussevitzky meaning it probably went to a copyist to be prepared. There just might be other copies out there. Where things get tricky is most of these companies cease to exist or are absorbed in to other companies over the years and it's not always clear what they've inherited. It might be sitting out there, and no one knows they have it. It also opens up the very interesting question of when is it time as a great artist to hang up the phone. Some composers, like RVW compose up to the very end with no diminution of talent. I wonder if there are others who really should have quite decades earlier, and they might be better regarded by posterity. Are there any examples of great composers who should have stopped composing decades before they did? Maybe Markovich but don't know if he would count because he had a dual career as composer/conductor and then just focused on conducting.
Not sure about composers 'who should have stopped' but the sculptor Henry Moore comes to mind. He was a great sculptor but I think that his later work is vastly inferior to his work done in the 1940s and 50s for example. IMO the larger it got the weaker it was. There are a number of composers whose 1st symphonies (IMO of course) were superior to anything else they did but that might just be a comment on my more conservative taste.
Klaus Egge (although I've got to appreciate his 2nd Symphony) and Karl Birger Blomdahl come to mind. Also I prefer Lilburn's two earlier symphonies and Braga-Santos's symphonies 1-4 much more than 5 and 6. Roy Harris and David Diamond also come to mind.
Quote from: Pohjolas Daughter on July 09, 2023, 07:49:23 AMOh, interesting! May I ask where you read that he had sent scores to Koussevitzky? And by scores (plural), was he asking him for advice...as in which parts/versions he liked better? This is news to me! :) If so, maybe it (they?) will turn up in some of K's possessions?
PD
EDIT: I just ran across this lengthy article. According to it, it does not sound like he ever sent off any/all of it to Koussevitzky. Quite interesting reading though. https://relatedrocks.com/2015/05/13/sibeliuss-eighth-symphony-fact-and-fiction/
This article (https://32minutes.wordpress.com/2012/02/18/sibeliuss-eighth-symphony/)has some interesting details including the full score was being bound by the copyist.
There had been some interesting action that year, however, and we start getting some hints about how the work was taking shape. On September 4, a famous bill (still extant) from German musician Paul Voigt, Sibelius's copyist, for copying the first movement of the Eighth Symphony, indicates that he sent 23 pages of the score to Sibelius. Sibelius wrote back: "There should be a fermata at the end. The Largo continues directly. The whole work will be about eight times as long as this." Since slow movements usually take up fewer printed pages than fast ones, it would seem that the third movement was to be unusually lengthy, or that there were more than the three movements sometimes mentioned by Sibelius. There were subsequent meetings between Sibelius and Voigt that, according to witnesses, involved quantities of manuscript paper. Receipts also exist for large purchases of music paper in both 1933 and 1935.
Now we have to jump forward to 1938.
A receipt from August indicates that a "Symphonie" was being bound. Curiously, the bill was for binding seven volumes. Sibelius was known not to have manuscripts of his seven numbered symphonies. On the other hand, it seems implausible that the Eighth Symphony would have been in seven separately bound movements. But no more is known. Some believe that he actually completed the Eighth that year, but kept it entirely to himself. Much later, in 1943, Sibelius mentioned to a couple of people that he was in the midst of some new work, which many scholars assume to be the Eighth.
Quote from: Spotted Horses on July 09, 2023, 08:30:25 AMThis is the first I have heard that it was a choral symphony. Source?
Link in my previous post talks about it. (where it says "article" is a link) and he's giving feedback to the copyist (stating a fermata should be at the end) indicating it was getting prepped and in the hands of the copyist.
Concerning the original
Piano Concerto #4 by
Rachmaninoff:
Quote from: Cato on July 09, 2023, 06:37:28 AMTry this:
Kent Nagano conducting the Montreal Symphony Orchestra with Alain Lefevre.
Earlier I had the wrong YouTube link: all fixed!
Quote from: Cato on July 10, 2023, 05:49:04 AMConcerning the original Piano Concerto #4 by Rachmaninoff:
Earlier I had the wrong YouTube link: all fixed!
Marvellous! No.4 is my favourite.
Quote from: relm1 on July 10, 2023, 05:35:28 AMLink in my previous post talks about it. (where it says "article" is a link) and he's giving feedback to the copyist (stating a fermata should be at the end) indicating it was getting prepped and in the hands of the copyist.
A shame that no one had the sense to put aside a copy. I read recently that Janacek destroyed his sonata 1.X.1905 (threw it in a river) but that the pianist who was tentatively going to give the premier performance kept a copy.
Quote from: Spotted Horses on July 10, 2023, 06:10:02 AMA shame that no one had the sense to put aside a copy. I read recently that Janacek destroyed his sonata 1.X.1905 (threw it in a river) but that the pianist who was tentatively going to give the premier performance kept a copy.
I think a more realistic scenario is no one knows they have a copy to set it aside. This happens often! People inherit stuff and don't know what it is. The exact same thing happens to companies that are acquired. Copyists that Sibelius used were most certainly acquired. It is possible it is sitting unmarked in a box somewhere waiting to be discovered. I think Shostakovich's lost opera, Orango (https://en.wikipedia.org/wiki/Orango_(Shostakovich)), is a case study. It was from his early radical period which some of us consider a very interesting period before the Pravda rebuke and the subsequent populist years. It was found in boxes in 2004 but only a musicologist even knew this work existed and what the fragmented music could be. There are many other scattered fragments in that same collection, but some are just sketches and some flushed out but eventually discarded ideas. The problem is sometimes they use that material in unexpected ways or sometimes it is left over material from major works. I remember when in grad school, a classmate doing research stumbled upon previously unknown handwritten music from the film composer, Bernard Herrmann, she was shaking that she found something no one else knew about...new Herrmann material. No one knew what it was unless Herrmann had mentioned it. He wasn't the most prolific composer but just an example of how common this is. There are loads of aborted projects or embarrassing projects or sketches that might turn in to projects, etc. That's why I'm critical that Sibelius' "Three Fragments" are part of his 8th symphony. They are just sketches and ideas and don't match up to what he described his 8th to be. They are just random thoughts any composer would have...part of a sketch pad. Interesting from a historical and musicological point of view helping guide an understanding of what he was thinking at that time and not more.
I think that it's amazing how Casal's stumbling across an old copy of Bach's Suites for Solo Cello (which were barely known at the time and apparently weren't even published until 1825) and how that changed the popularity of the cello and composers writing for it: https://www.cpr.org/2018/07/25/the-story-behind-the-bach-cello-suites-and-why-we-still-love-them-today/
PD
p.s.
@relm1 , was that material by Bernard Herrmann ever performed? Or was it more like sketches/ideas that he had jotted down? Still, that must have been a cool find by her! :)
Quote from: relm1 on July 08, 2023, 04:14:55 PMI take "withdrawn" to mean somewhere, somehow the work was pulled out of availability.
To be pulled out of availability, it must first have been available. Which Sibelius' 8th was not.