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Which Austrian composers might be deemed "popular only under Anschluss"?  Recordings of such must be rare.

Who might be considered a "popular only under the Nazis" composer?  Recordings of such have got to be mighty rare.

Right now, I'm listening to Slonimsky Symphony № 27, Lyrical (2009), at:

http://classical-music-online.net/en/production/29283

I'm rather happy, finding my way back to 1952 in Leningrad...without actually having to be there.

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1-6 to listen to here, and lots of other works:

http://classical-music-online.net/en/composer/Antheil/2006

P.S.  These will load into your Temporary Internet files as mp3s, and you can copy them if you wish.

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Akutagawa Orchestral Works:

http://www.youtube.com/watch?v=iIoSkN4ykJ8

Kabalevsky's very long-lost brother...

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A musical title that has amused me is Hindemith's "Overture to the 'Flying Dutchman' as Played at Sight by a Second-Rate Concert Orchestra at the Village Well at 7 o'clock in the Morning"...

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How about Hindemith's "Murder, the Hope for Women"?

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Orff's Prometheus.  Lots of shouting, roaring, wailing, screaming and ululating in Ancient (not modern) Greek, all around middle C, plus some early electronic effects.

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The Musical Times 12/1/1906

"CHAMBER CONCERTS. Miss Bluebell Klean, a native of London, who gave her first chamber concert on November 13, at Bechstein Hall, claims special attention, as the programme consisted almost entirely of her own compositions. The most important of these was a Quintet in C minor for pianoforte and strings, which proved a pleasing and genial work based on melodious themes, which are tersely and clearly developed with admirable perception of effectiveness and contrast. Six songs from the same pen, and some short and bright pianoforte pieces, show considerable originality in their harmonic scheme and avoidance of conventionality, while the songs, severally named ' Open the door,' ' Come to me' and ' The water-sprite,' should find publishers. They were charmingly sung by Miss Esther Palliser, and the pianoforte pieces were expressively played by Miss Johanna Heymann. The Quintet was excellently rendered by the Hans Wessely Quartet, with the composer at the pianoforte."

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Interesting.  Of course, music that appeals to children is obviously appealing to their emotions and not their "intellect".  In that regard, Orff's Music for Children (including the vinyl-only Angel version in English), focusing on simple rhythms (with percussion instruments with many tones) and melodies, might be highly emotive to people not using too much of their intellect...

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But who is Masia?

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Right now I'm listening to the Violin Concerto by Alexi Matchavariani, with the first two movements successfully downloaded for free from the composer's son's website: 
http://www.matchavariani.ge/alexi/rec.html

It's really QUITE amazing, like Rachmaninoff and Korngold in the same soul.

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Both Francks?   Masia?   

I was thinking about Weinberg/Vainberg as well, but "feel" more from Lyatoshynsky/Liatoshinsky.

John Adams in "Looking at the Ceiling..." feels quite in-sincere to me, as does much of Bernstein [remember Leonard is the fellow who mis-IDed early Hovhaness as "filthy (sentimental) ghetto music"]. 

Arnold is very obviously emotive in his horrific 7th Symphony, dedicated to his own children.

Górecki of course.

Penderecki's "Threnody" frankly sounds like he was trying to mix audio suffering with audio radiation.

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Tell us about Turnage's, what...10?, concertos?  What do they sound like?

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Who would you consider composers since 1950 that "wore their heart on their sleeve"?  I'll suggest an odd one to begin with...Lokshin.