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I suggest that registration instructions are an intrinsic part of the composition and that, whoever may have assisted the composer derive them, the composer is the person responsible for their appearance. It seems to me that Poulenc (who wasn't an organist) is just giving credit to Durufle for this ...

The current score on IMSLP is H 5. I'm not sure why the work list has H 4's title in German rather than Italian.

Cecilia Bartoli has recorded the 1834 version and, as maryellen says above, it is very significantly different to the later one - not just orchestration but structure, themes etc.

This is explained in a note to his 2nd symphony:
L - Largamente
A - Accelerando
R - Ritardando

My score of Symphony 2 has an instrumentation list with this note, but there isn't such a page in my Symphony 1 score, which is a bit odd.

Now that all Nielsen's works are available (and bravo to the Royal Library for this marvellous resource), are there any more protocols which need to be followed for anyone who wants to upload to IMSLP?

No chorus in Karajan's 1978 Vienna recording, all the roles are taken by well known soloists. I agree they're definitely more soloistic in character too.

My score doesn't have any information on who did the reduction either, but it's a US score (copyright 1951, 1952 by Mills Music and Ricordi, no 90061) with the note 'international copyright secured'. The score has notes in English and the reduction has lots of indications of orchestration also in En...

have a look at this -

http://www.borromeoquartet.org/artist.p ... s&nid=1431

Another example is the very fine 1982 recording of Haydn's Creation from the hall of its first performance, at the 'Old University' in Vienna - conducted by Gustav Kuhn.

The music of Stravinsky by Stephen Walsh has what seems to be a good chronological list although it's not a full catalogue. It acknowledges its debt to White's book and updates some of the datings.

The Carmen ballet by Rodion Shchedrin (1967) for strings and percussion comes to mind - this was very popular 20 years or so ago and there are a few recordings of it. He uses music not just from the opera but other Bizet works.

Tcherepnin was probably the first composer in line for Firebird but after this fell through (for whatever reason) I gather that Liadov was approached before Stravinsky.

there are the Humoresques for violin and orchestra op 87 and 89, serenades for violin and orchestra op 69, and the Two pieces (Serious Melodies) op 77 but these are already on IMSLP.

Most works with organ need quite a big orchestra. Elgar has a few including Enigma Variations, Cockaigne, and two of the Pomp and Circumstance Marches. There's also Liszt's Hunnenschlacht, Roman Festivals and Pines of Rome by Respighi, Tchaikovsky's Manfred Symphony, Taras Bulba by Janacek, or Also ...

I've got a 1910 edition of the Grove where vol 5 has an appendix with some updates. Vol 2 is F to L, vol 3 is M to P, vol 4 is Q to S, and vol 5 is T to Z.