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While Alan's judgment is most prudent and truly one to be recommended, Hartman's article presents a few points one might quibble with. Just for starters, while repeated emphasis is given to Rufinatscha's musical relationship to Schubert, during Rufinatscha's formative years Schubert was, reputation-wise,  a rather minor composer. Sechter, on the other hand, was a well-known and exceptionally prolific composer (his 8000 works put Czerny to shame), and among Rufinatscha's Viennese contemporaries, Lachner, in fact, was the young composer to watch. Schubert 's single late session with Sechter says much more about Sechter's own considerable reputation than it does about Sechter's perceived pedagogical influence on Schubert. In short, a worthy unsung composer may well develop his craft through imitatio of other today-unsung composers. In the long haul, if not the end, it comes down not to craft or prestigious patrimony but to whether a composer has something authentic to share.

Just out of curiosity, Mark, can you think of a place where Raff uses the marking meno mosso? One source says the earliest known usage is from 1854.

Though I haven't heard this rendition of the Howell, for me the work popped out from the surrounding pieces in the 2010 recording by Seferinova with the Orion SO under Toby Purser (Cameo Classics). Perhaps its fund of invention may be more obvious to pianists than to others, but within its chosen parameters, it's really well made.

Thanks for clarifying, Eric!

the not quite a dozen [recordings] for either the Saint-Saëns, the Elgar, the Schumann...

Just for the record, so to speak, I own 24 different performances of the Schumann violin concerto issued commercially on LP or CD, and there are other commercial CDs available that I don't own.

Fond of this one myself. Not a pretentious note in it, but full of youthful confidence.

As an addendum to the list of piano works, this curiosity, as recorded in the Library of Congress Catalog of Copyright Entries for 1931, p. 11: "Blues; von Eugen d'Albert, of Switzerland; klavier. (c) October 10, 1930 ... Edition Kaleidoskop, Berlin-Wilmersdorf.  [item] 228"

Erkki Melartin's Festive March from Sleeping Beauty, op. 22, is used as a wedding march in Finland. It is available in an arrangement for piano solo on IMSLP.

...the coupling is the String Quintet in F, Op.77.

Oh, excellent!

I'm quite taken with Glazunov's Symphony 8. The first movement takes motivic consistency about as far as it can go (in Glazunov's idiom) without overstaying its welcome -- a masterfully wrought movement. You might say it anticipates the kind of continuous variation found in some 20th-century Scandinavian symphonies. But it's the slow movement that really makes the 8th symphony for me. Here Glazunov is travelling outside of his comfort zone, and the results are dramatic and moving. It isn't fair to call it a cross between Tchaikovsky and Wagner since it's as mature and personal as anything Glazunov wrote. Still...

That's an unusual ensemble. Can anyone think of any other work for those resources?

One suggestion for a companion piece might be Emil Kreuz's 1900 Prize Quintet for horn and string quartet, Op. 49. But that might be a stretch even for CPO.

If Schmidt's Symphony 4 is relevant here, perhaps Langgaard's 1916/20 Symphony 4 ("Fall of the Leaf") would be as well. The Edmundton SO -- with perhaps the most adventurous programming I've seen in a while -- will be performing it under Alexander Prior May 12, 2017.

Regarding the violin concerto FBerwald mentions under "and circa 1946," Tobias Broeker's catalog lists it as opus 84, dates it 1948, and gives the manuscript location as Staatsbibliothek Berlin. Tobias also lists the individual movements.

For someone who likes Brahms's chamber music, I think Thuille's Sextet is a safe bet. It's memorably lyrical, well constructed, and doesn't outstay its welcome.
For someone who likes early Romantic symphonies, I second, third, or whatever Berwald's Sinfonie singulière, especially by the Malmö SO under Sixten Ehrling. Berwald's musical ideas remain delightful and surprising even after multiple hearings. He's as original as Berlioz (though nothing like Berlioz).
For someone who likes early Faure (Vln sonata 1 etc), I suggest one of the Atma classique discs of chamber music by Dubois. Dubois really knows his way around all four of the standard movements of the classic sonata-suite, and he has something appealing to share that commands (my) attention, especially in works written after 1906.
For someone who likes Russian orchestral music, it's hard to go wrong with Glazunov's Symphony 5, the finale of which almost matches Tchaikovsky 5 for excitement; Glière's Symphony 2, full of memorable tunes and, in the first movement, an exciting development; or either of Kalinnikov's lyrical symphonies. On second thought, I'd recommend Balakirev's First Symphony before Kalinnikov. The Balakirev is almost as tuneful as Rimsky-Korsakov's Scheherezade, and is at least as well constructed. The Beecham recording in early stereo makes a strong case for the symphony, as does the Svetlanov/USSR SO performance on the budget label Regis.
One could go on and on, of course.  As Alberto and others have pointed out, some sung composers like Saint-Saëns have appealing unsung works. And like Eric I'm a fan of Stenhammar. Just the other day I played Rimsky-Korsakov's Piano Concerto (Hyperion series) for someone just getting to know classical music, and I was surprised by how strongly they liked it. Their only disappointment was that it wasn't twice as long. Their enthusiam prompted me to revise my own opinion of the piece (listening to it with them, I enjoyed it more than I ever had before).

I looked closely at Liszt's version of the B-minor finale some years back. IIRC he made no structural or harmonic changes, but the textural and voicing changes were substantial.