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While reading this topic a crazy question came upon me: who composed only one work?

How about Clairs de lune by Abel Decaux (1869-1943)?

On this disc the Piano Trio in E minor op 31 is Goldenweiser's Piano Trio, not Catoire's.

Given that this subject of this thread takes us into the world of complete fantasy, and also that some of the most interesting 'conversations' in the blogosphere arise tangentially, must we be herded back to the point quite so peremptorily?

BTW, wasn't there a lady a few decades ago who wrote down works which dead composers 'dictated' her from beyond? So I think we should try to find such a medium and ask her if she could coax our favourite composers to stream a few masterworks via the aether. 

This lady was criticised because she could offer only small piano pieces. If Bruckner cared to give us further samples of his genius wouldn't he choose something more spectacular? Finishing his 9th symphony perhaps?

Her name was Rosemary Brown and I once had the pleasure of meeting her.  Without saying that she was definitely not a fake, she went a long way to convincing such people as Richard Rodney Bennett, Hephzibah Menuhin, Ian Parrott, Humphrey Searle and Peter Katin.  There are more things in heaven and earth, Horatio...

I think it's fair to say that the way Rufinatscha develops his ideas is more interesting than the ideas themselves

I agree there's nowt wrong in that.  It would put him in exalted company: one could say the same thing about Beethoven as often as not.

Thanks very much for that upload, Mark -- I thought the sound quality amazing good, considering the provenance.  As Alan remarked, the symphony is very conservative in idiom; the ghost of Schumann is stalking through most of it and although I don't think that it will prove particularly memorable, it's certainly attractive and well-crafted.  Also, I thought the Beromünster Orchestra sounded a good band and Herr Haug a competent conductor.

Has anyone viewed the Piano Quartet or Piano Quintet at IMSLP?

I hadn't until you threw down the gauntlet, Alan.  I looked through the Piano Quintet because it's the later piece (1887) and I must say that I was impressed.  He obviously knew how to write effectively for that combination of instruments, keeping the textures clear, open and well-balanced. The opening movement, in compound time, has a persistent dotted motif which is rather Schumannesque; the modulations of the development section are well-judged, carefully placed, and sometimes take one in unexpected directions which helps to construct an interesting architecture.  The finale starts out in rumbustious mood but it's not all sound and fury and has well-contrasted episodes.

However, to me the real gem is the long-breathed central Adagio which has an absolutely glorious melody with a hint of Dvořák about it although its development reminded me somewhat more of Hermann Goetz and the decoration foreshadows  Richard Strauss' Violin Sonata (which was written the following year).  It's a piece that's very well worth reviving, I'd say.  I'll try to find time to look at the Piano Quartet tomorrow.

I always think that Horatio Parker passed Ives with a sigh, maybe advising him as he left Yale "you know, Charles, have you ever considered going into something else besides music - insurance, perhaps?..."

O, how I want that to be true!   

I don't think anyone questions Sullivan's orchestral mastery or distinctive orchestral idiom.

How true.  Sullivan's orchestration is masterly: he manages to make a theatre orchestra sound full and rich but not thick, and his tuttis are not all of a piece but are enormously varied.

No, Ives did just go downhill. Again, a very personal opinion! I'll take Chadwick as a professional orchestrator every time.

Agreed!

pcc, I'm very glad that you are looking at this score.  When I wrote in my earlier post that "others may find things in it that I have missed" I did so in the hope that at least one "other" would peruse it.  It's always good to get a variety of opinions on unsung works (especially those by unsung composers) to ensure that a gem doesn't stay hidden when that fate is undeserved.  I note that you say you haven't looked over it thoroughly yet; once you have done so (if you do), I hope you will post again with your final thoughts.

Thanks, Alan, that's most helpful.   If he learned his lessons well from Reinecke and Jadassohn, he should be worth hearing.

I can't be of any assistance in answering your original question, Alan, but since you seem to have unearthed all the information anyway, I don't feel too embarrassed to post a reply indicating that I'd be interested to know how you would describe the style of Liebeskind's Symphony -- I admit to not having encountered his name previously.  The sole original work of his at IMSLP (where he is spelled Josef) is the op 2 String Quartet but, not surprisingly, it's only in parts rather than score; trying to make sense of the piece by looking at all the parts simultaneously would push my score-reading skills way beyond their limits, I'm afraid!

Blimey!  Music obviously has the power to inflame the savage breast as well then!

Yes, Leon was Joseph's younger brother.