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A curious programmatic work in the late Romantic style, Edgar Stillman Kelley's New England Symphony was acclaimed as one of the most important American symphonies of its day when it premiered shortly before the outbreak of the First World War, but it quickly disappeared from the repertoire after the onset of the Great Depression.

The first movement is based around two contrasting themes labelled 'Duty' and 'Love of Life.' The pastoral second movement uses various birdsongs collected by Kelley as the main source for its musical material. The funereal third movement first revisits the 'Duty' theme from the first movement, then continues with a theme and variations section revolving around a popular New England hymn: 'China' by Timothy Swan. The fourth movement has a similar marital spirit to the first and concludes with a treatment of the 'Duty' theme in the parallel major.

My NotePerformer simulation of the 18-minute long opening movement (which features can be heard on the work's IMSLP page.
https://imslp.org/wiki/Symphony_No.2,_Op.33_(Kelley,_Edgar_Stillman)

I've begun work on synthesizing Jacob Rosenhain's second symphony using NotePerformer. Although he wrote two others, it is the only one to be published as far as I know. It was praised by Francois-Joseph Fetis who conducted its premiere in Brussels in 1849 and was noted by Hector Berlioz in his appraisal of Rosenhain's 1851 opera La Démon de la Nuit. I have already completed the scherzo and uploaded an MP3 to the work's IMSLP page. https://imslp.org/wiki/Symphony_No.2%2C_Op.43_(Rosenhain%2C_Jacob)

     To commemorate the 123rd anniversary of Johannes Brahms's death, I'd like to bring to your attention one of his unsung devotees. Rudolph Sophus Bergh (1859 - 1924) was a Danish zoologist, musicologist, and composer. For the first forty years of his life, he followed the footsteps of his father (the Danish zoologist Ludvig Sophus Rudolph Bergh) and taught histology and embryology at the University of Copenhagen. However, in his youth he had also studied music at the Royal Danish Conservatory and by the late 1890s, he had decided to abandon his career in science and devote his life to his greater passion: composing.

      A conservative Romantic, much of his music is heavily influenced by Johannes Brahms with its affinity for counterpoint and a strong attachment to traditional harmony. In his last years, he ended up returning to academia except this time as a musicologist at the Royal Danish Conservatory where he was amongst the more conservative professors heavily criticizing the move towards atonalism being pioneered by Arnold Schoenberg in Austria. After his death in 1924, he and his music were quickly forgotten. So obscure is he even today that not a single composition by him has been recorded. Most of his published scores and couple of manuscripts are held by the Royal Danish Library. IMSLP has his D minor string quartet, two violin sonatas, and his 'Tragic Symphony' which was published posthumously.

The vast majority of Bergh's output consisted of lieder and song cycles scored for solo voice and piano. Out of 51 opus numbers, the following are the works that aren't lieder:

Op. 2: Neuf Valses pour Piano à quatre mains
Op. 9: Walzer : für Pianoforte zu 4 Händen
Op. 10: Quartett in D-moll : für zwei Violinen, Viola und Violoncello
Op. 20: Sonate in E-moll : für Violine und Klavier
Op. 22: Stimmungen in Moll : fünf Klavierstücke
Op. 27: Von Morgen bis Abend : sieben kleine Klavierstücke
Op. 32: Requiem für Werther : für Chor, Altsolo und Orchester
Op. 33: Fünf Gesänge für gemischten Chor
Op. 37: Vier Gesänge für Frauenchor
Op. 38: Geister der Windstille : für Alt- und Tenorsolo, Chor und Orchester
Op. 40: Sonate in A-moll : für Violine und Klavier
Op. 43: Der Berg des heiligen Feuers : symbolisches Singspiel für Solostimmen, Chor, und Orchester
Op. 50: Tragische Symphony in G moll

As a bonus, here's a NotePerformer rendition of the concluding fugue from the D minor string quartet: https://mega.nz/file/VocixYTA#IJr6b9pO_PGr5dYa1Kp99EkT7AZvbRION5l5xBFx4Ow