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Some more examples:

Bach: although Johann Sebastian maybe does not count as classical, surely his sons do.

An artist named Heinrich Winter (1788-1825) published a series of lithographs of famous composers (Portraite der berühmtesten Compositeurs der Tonkunst) that included Maximilian III Joseph, Kurfürst von Bayern (1727-1777) and his sister Maria Antonia Walburga, Kurfürstin von Sachsen (1724-1780).

Berkeley: Sir Lennox Berkeley and his son Michael, Lord Berkeley of Knighton, are probably too modern for this list.

Cannabich: Christian and his son Carl.

Habsburg and Habsburg-Lorraine: several members of this dynasty were apparently composers. Archduke Rudolf, the friend of Beethoven, is now solely remembered for his Diabelli variation. Emperors Ferdinand III, Leopold I, and Josef I, seem to have written music, but, judging from their dates, it would be baroque.

Moritz, Landgraf von Hessen-Kassell, and Ernst Ludwig, Landgraf von Hessen-Darmstadt, wrote baroque music. Alexander Friedrich, Landgraf von Hessen (1863-1945), who was born blind, was also a composer, but wrote romantic chamber music.

Siegfried and Rued Langgaard.

Otto Mahler was described by his brother Gustav as the more gifted, but killed himself aged 21.

Maria Anna Mozart wrote music that was praised by her brother Wolfgang, but it has not survived.

Josef Pembaur, Senior and Junior.

King Friedrich II of Prussia played the flute and was also a composer in the baroque style, as were his sisters Amalie and Wilhelmine. The dynasty also produced two princes name Louis Ferdinand who were both composers. The first, born 1772, was a nephew of King Friedrich II, and wrote classical chamber music, but he was also a general, and was killed in 1806. The second, born 1907, died 1994, was a grandson of Wilhelm II, and seems to have written for brass band, as an LP of his compositions was recorded by Polizeiorchester Potsdam.

Rubinstein, Anton and Nikolay.

The issue of using the revised numbering of Rufinatscha's symphonies has been raised

I see no reason to do this. There are precisely the same number of symphonies as before, but No. 3 is now a different work. It does no harm to leave the designation of No. 4 to an incomplete work, but removing the number will cause unnecessary confusion. Should Schubert's 7th and 8th be deleted merely because there are incomplete? Would anyone like to try to renumber the symphonies of Mozart? It isn't possible to determine how many symphonies Mozart wrote. Some of his symphonies have been left out of the list, while the numbered symphonies include works written by his father, or by friends. To renumber Mozart's symphonies each time a new one turned up, or an old one was found to be by someone else, would be unhelpful. I hope that Chandos will stick with the old numbering.

I've always been amazed, given his personality and experience, that Mahler never wrote an opera

He did write about half of one, when he completed Weber's unfinished Die Drei Pintos.

There may be others!

Two not yet mentioned:

Willem Mengelberg
Sir Henry Wood

Check out The Bruckner Dialogues, which is a quite striking salute to a composer quite different yet somehow closely linked.

But the only memorable parts of that work are chunks from Bruckner's Symphony No. 9.

Finally got around to opening and listening to this marvelous Dutton CD.

I have had this sitting unopened on a shelf for two years, and I regret not having played it sooner. The Sainsbury concerto is a delight, and I notice that the same composer's cello concerto is now available. The Wood concerto and fragment were better than I had expected (as I did not find his previously recorded piano concerto particularly memorable) and it is a shame that the other movements of the earlier concerto are missing.

I've seen Scriabin's Poem of Ecstasy labelled as his 4th Symphony on a few occasions.

I have a boxed set of Symphonies 1 to 5, No. 5 being Prometheus: The Poem of Fire.

I'm sure some will not agree, but in my mind Tapiola is a symphony in all but name.

I certainly agree. It is a one movement symphony like No. 7.

How wonderful that cpo has released so much of Atterberg's beautiful music

I am indeed grateful to CPO but I fail to understand why Atterberg is not more frequently performed and recorded.

[ALAN HOVHANESS: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC1927/62:"Watchman, Tell Us of the Night"(Christmas Song) for bass, chorus, oboe, clarinet and strings, op. 34a: 5 minutes1931/36:"Strom on Mount Wildcat" for orchestra, op.2, No.2 for orchestra: 3 minutes + (Telarc cd)1935/44:"Celestial Fantasy" for orchestra, op.44: 8 minutes + (Delos, Crystal and Dorian cds)1936: Fantasy "Monadnock" for orchestra, op.2, No.1: 5 minutes Missa Brevis for bass, choir, strings and organ, op. 4: 13 minutes1936/54:Prelude and Quadruple Fugue for orchestra, op.128: 7 minutes + (Delos and Telarc cds)1937: Symphony No.1 "Exile", op.17, No.2: 19 minutes + (Guild and Delos cds) Cello Concerto, op. 17, No.1(formerly op.37): 30 minutes1940: Psalm and Fugue for strings, op.40a: 6 minutes + (Koch, Kleos and Dorian cds) Alleluia and Fugue for strings, op.40b: 9 minutes + (Delos, Telarc, Dorian and Crystal cds)]

I must confess that there were a few times when I seriously thought of abandoning the attempt but, once started...........

ALAN HOVHANESS: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC

1927/62:"Watchman, Tell Us of the Night"(Christmas Song) for bass, chorus, oboe, clarinet and strings, op. 34a: 5 minutes
1931/36:"Strom on Mount Wildcat" for orchestra, op.2, No.2 for orchestra: 3 minutes      +  (Telarc cd)
1935/44:"Celestial Fantasy" for orchestra, op.44: 8 minutes   + (Delos, Crystal and Dorian  cds)
1936:   Fantasy "Monadnock" for orchestra, op.2, No.1: 5 minutes
             Missa Brevis for bass, choir, strings and organ, op. 4: 13 minutes
1936/54:Prelude and Quadruple Fugue for orchestra, op.128: 7 minutes   +  (Delos and Telarc cds)
1937:   Symphony No.1 "Exile", op.17, No.2: 19 minutes   +  (Guild and Delos cds)
             Cello Concerto, op. 17, No.1(formerly op.37): 30 minutes
1940:   Psalm and Fugue for strings, op.40a: 6 minutes   +  (Koch, Kleos and Dorian cds)
             Alleluia and Fugue for strings, op.40b: 9 minutes   + (Delos, Telarc, Dorian and Crystal cds)

According to the notes for CD-80392, "he summarily destroyed most of what he had written before 1940, which is said to have consisted of several hundred compositions, including seven symphonies".

Since I am not yet a convert, perhaps members could recommend three CDs of Hovhaness' music for me to start my investigation of this composers' output...

I have several discs of this composer's music, but it all sounds much the same, and I have resolved not to buy any more. There is nothing wrong with it, but it tends to be a bit bland and shapeless. It has been said that "Hovhaness comes from a small planet where it always Christmas and where there are no bad sounds". Indeed, I find that there is even a Christmas Symphony, Symphony No. 49, Opus 356. His Symphony No. 22, Opus 236, is titled City of Light, and the 2nd movement is called Angel of Light, and is "a memory of a childhood vision I had ... I was always affected by Christmas". So my recommendation would be to avoid the mystical works and try something more formal, such as the Prelude and Quadruple Fugue, Opus 128.

[Moderator's Note:This reply should really have been posted on the Composers and Music board. Let's restrict posts here to matters relating to the catalogue of Moeran's works only.Alan Howe]

However, the 2nd Symphony has really grown on me now.

Last night I picked up a brochure that reveals that Martin Yates will conduct a Sunday afternoon concert performance of this symphony at The Dome, Brighton, on 9 December 2012, with the Brighton Philharmonic Orchestra (which is quarried from pits in London). The program that day also includes Ireland's Piano Concerto.

In case anyone is unfamiliar with the orchestra, here is a link to a review of their recent bold delivery of Bruckner's Symphony No. 8:

http://www.bachtrack.com/review-brighton-philharmonic-bruckner-eighth-symphony

Moderator's Note:
This reply should really have been posted on the Composers and Music board. Let's restrict posts here to matters relating to the catalogue of Moeran's works only.
Alan Howe

we know that Rossini wrote virtually nothing (apart from the Petite Messe Solennelle) for the last twenty years of his life.

Apart from other works, there are the fourteen volumes of Péchés de vieillesse, containing some 150 works.

Polish composer

He was certainly of Polish descent, being a great-nephew of Stanislaus II, but he was born in Rome, and died in London, and seems to have spent the intervening years in Florence, in the service of the Grand Duke, who created him Prince of Monte Rotondo in 1847. Did he ever even visit Poland? Did he really call himself Jozef, alla polacca?

I don't think it should be a matter to be embarassed about, however.  It seems to me that it boils down to one simple thing - how many Russian (or for that matter, any nationality) playwrights have ever attained the fame, stature and quality of Shakespeare?  Hasn't most of the "Russian" music written in the west been scenes, sketches, folk song or folk song-like suites - that sort of thing and not operas or other large scale works based on some form of literature?

I think that there is more to it than that.

Shakespeare can be heavy going for English schoolboys. But translated into modern Italian and handed to Verdi, then the result was Otello, Macbeth, and Falstaff. So, foreign composers probably have an advantage, because they were able to use a contemporary text in their own language.

Another factor than cannot be ignored is that Britain has produced fewer major composers, and British opera is almost non existent. If you go to see an opera in England, it is very likely to be by a foreign composer.