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I mentioned in another post the intriguing Bassoon Concerto of Italian composer Antonio Scontrino (1850-1922), which inspired me to start this thread...

It seems to me that there are a relatively minuscule amount of concertante works for wind instruments written in the late-romantic era. Now, there are a handful of concertante works for horn and orchestra from this period, but it is debatable whether the horn is truly a wind instrument. Besides, I see there's already a thread for Romantic Era works for horn and orchestra.

Well, the most obvious examples that come to mind are Strauss' Oboe Concerto and Duett-Concertino for clarinet and bassoon, works I'm not overly fond of but fill this niche quite well. I suppose Finzi's Clarinet Concerto could be considered late-romantic, but, whatever the case, it has to be the most achingly beautiful works ever written for a solo wind instrument. Wolf-Ferrari wrote a couple very attractive concertante works with winds (including an Oboe Concerto) which could be described as having a late-romantic harmonic language but being clothed in a neoclassical aesthetic. Also, there's Chaminade's brief but utterly charming Flute Concertino.

So, my main question is: Why so few concertante works for winds in the grand manner like the concertos composers were churning out for piano, violin, and cello at the time? The Finzi concerto is the closest example I could think of that has the emotional depth and dramatic content of concertos written for the "usual three" during the period. Many late-romantics (Tchaikovsky, Dvorak, Rimsky, Sibelius, etc.) exploited a great fondness and gratifying writing for the winds in their orchestral works. So, why didn't they write any works that would fit the subject in question?

Any thoughts?

Toccata will be bringing out the previously unrecorded viola/piano music (including two sonatas) of Grechaninov in due course: http://www.toccataclassics.com/cddetail.php?CN=TOCC0234

Also included are Grechaninov's viola/piano arrangements of Debussy's Romance and Beau Soir.

A quick search of IMSLP reveals the following:

Bax: Harp Quintet. Unquestionably the most well-known work for this combination. It's full of the "Celtic twilight" that makes Bax's music so unmistakably magical.

Cras: Harp Quintet. A shimmeringly atmospheric work evocative of the sea. It is remarkable for its extensive use of exotic modes.

Desire-Emile Ingelbrecht: Harp Quintet. It hasn't been recorded, but judging by what little I've heard of Ingelbrecht's music, it should be impressionistic in style.

E.T.A. Hoffmann: Harp Quintet in C minor. A late classical/early romantic work which has been recorded by CPO. I haven't heard it, though.

Andre Caplet: Conte fantastique. This minor masterwork, based on Poe's The Masque of the Red Death, also exists in a version for harp and string orchestra. It has been recorded in both guises.

Tchaikovsky: Adagio molto in E-flat major. This student work has been recorded once (on Regis), but I haven't heard it.

Liszt: Am Grabe Richard Wagners. Composed in the last year of his life, this little work has been recorded once (on Oehms), but, again, I haven't heard it.

Marcel Samuel-Rousseau (1882-1955): Variations pastorales sur un vieux noel. This work has been recorded in its original guise for solo harp, but not in its incarnation for harp and string quartet (by Marcel Tournier).

Anything else of interest in this field?

Tonight, I listened to the beautifully nostalgic Septet in E major Aus Meinem Leben by little-known Czech composer Joseph Miroslav Weber on YouTube. Scored for the unique combination of clarinet, bassoon, two horns, violin, viola, and cello, it is spontaneous and freshly melodic work which takes Dvorak as a role model. I was pleased to find that this work tends more towards Slavic pathos than to Germanic restraint. The YT recording originates from an OOP Orfeo CD, where the work is coupled with a septet by Erzherzog Rudolph. His String Quintet in D has also made it to CD, but, alas, that recording (on the Cello Classics label) is also OOP.

Information on Weber is not extensive, but I have been able to gather that he composed an opera, a violin concerto, orchestral suites, and at least two string quartets, in addition to the two chamber works already mentioned. Steve's Bedroom Band has uploaded a recording of his String Quartet no. 2, which I have yet to hear. IMSLP also holds the piano reduction of the VC, the String Quintet, and the Miniatur-Suite for violin and piano. Edition Silvertrust has published the septet and quintet.

Any thoughts?

Despite the fact that Madetoja has been relatively well-served on disc lately, I thought this new release would be worth mentioning: http://ondine.net/?lid=en&cid=2.2&oid=5161

The First Symphony is a richly romantic work reflecting the influences of Sibelius and Tchaikovsky. The Third is a real breath of fresh air-Ravel (in neoclassical mode) is a more prominent influence than Sibelius here. The Okon Fuoko Suite also demonstrates Madetoja's cosmopolitan nature. Madetoja's masterwork, however, is unquestionably the Second Symphony, a deeply moving work inspired by the death of his brother in the Finnish Civil War.

I came across this intriguing German composer while browsing IMSLP: http://en.m.wikipedia.org/wiki/Conrad_Ansorge

If he is remembered at all today, it is for his piano playing, not his music (he was a student of Liszt). There are ancient recordings of him playing the piano on YouTube, but, alas, none of his own compositions. His output is quite sizable, including a Requiem, two symphonies (one of which is entitled Orpheus), a piano concerto, three piano sonatas, two string quartets, a cello sonata, amongst other works. IMSLP holds four of his works, which appear to be of a turbulently dramatic nature and of lineage from the New German School: http://imslp.org/wiki/Category:Ansorge,_Conrad

Anyone know more about him?

[The Israeli composer Paul Ben-Haim (1897–1974) was born Paul Frankenburger and made his early career in his native Munich. Reading the danger signs earlier than most, he emigrated to Palestine in 1933 and soon became one of the leading figures in the musical culture of the emerging Jewish community. His music mirrors this change of circumstance: the early String Quintet (1919) taps a vein of rich late Romanticism influenced by Richard Strauss, but the rhapsodic First String Quartet (1937) is coloured by middle-Eastern melisma and folk-rhythms.]

This intriguing release appears to be within UC's remit (well, the early String Quintet, at least): http://www.toccataclassics.com/cddetail.php?CN=TOCC0214

The Israeli composer Paul Ben-Haim (1897–1974) was born Paul Frankenburger and made his early career in his native Munich. Reading the danger signs earlier than most, he emigrated to Palestine in 1933 and soon became one of the leading figures in the musical culture of the emerging Jewish community. His music mirrors this change of circumstance: the early String Quintet (1919) taps a vein of rich late Romanticism influenced by Richard Strauss, but the rhapsodic First String Quartet (1937) is coloured by middle-Eastern melisma and folk-rhythms.

(from the Toccata website)

I suspect the String Quartet will be in the same style as the 1921 Piano Quartet in C minor that Chandos recently recorded. I was rather impressed with the Quartet, which struck me as a successful amalgamation of Brahms, R. Strauss, and Impressionism.

[Nikolai Tcherepnin (1873–1945) – a student of Rimsky-Korsakov and teacher of Prokofiev – was a Russian-born composer and conductor, and the first of his family's musical dynasty. This CD provides an overview of his ninety-plus songs, which cover a wide range of styles. The early ones are in a late-Romantic idiom; the Japanese Lyrics of 1923 display oriental colours; and the extraordinary Oceanic Suite (1917–23), which sets a series of incantations by the symbolist poet Konstantin Balmont, presents modern evocations of primitive ritual.]

Whilst vocal music without orchestral accompaniment is not my area of focus, this upcoming release from Toccata Classics sounds quite attractive: http://www.toccataclassics.com/cddetail.php?CN=TOCC0221

Nikolai Tcherepnin (1873–1945) – a student of Rimsky-Korsakov and teacher of Prokofiev – was a Russian-born composer and conductor, and the first of his family's musical dynasty. This CD provides an overview of his ninety-plus songs, which cover a wide range of styles. The early ones are in a late-Romantic idiom; the Japanese Lyrics of 1923 display oriental colours; and the extraordinary Oceanic Suite (1917–23), which sets a series of incantations by the symbolist poet Konstantin Balmont, presents modern evocations of primitive ritual.

(from the Toccata website)

I've recently been on the hunt for early/mid romantic chamber music that is largely independent of the Germanic models set by Mendelssohn, Schumann, and Brahms. The most prominent example that comes to mind is Peter Heise's brilliant Piano Quintet, which turned out to be a more individualistic and harmonically advanced work than I had expected. Also, Rubinstein's String Quartet no. 1 (which I recently praised), while not as individualistic as the Heise, contains many original touches that break free of Germanic constraints. What are some other examples of this?

I've been intrigued by the tragically short-lived Estonian composer Evald Aav, who composed in a late-romantic, nationalist style akin to Tchaikovsky. Unsurprisingly, he was not very prolific, but he turned out four major works: the nationalist opera The Vikings, a Symphony in D minor, a 35-minute symphonic poem Life, and a Piano Sonata in C major. The Estonian Music Information Centre has much information about Aav as well as some mouth-watering audio clips available: http://www.emic.ee/evald-aav

I'm thinking Aav's Symphony in D minor and symphonic poem Life would make a perfect coupling on CD (Jarvi, are you listening?). Or perhaps we could interest CPO or some other enterprising company?

I understand that music of the late classical period is not off-limits here; if I am mistaken, please feel free to lock this thread!

I am not that well familiar with lesser-known music of the classical era, but I have come across some remarkable, forward-looking unsung symphonies of the late classical era, including:

Antonio Cartellieri: Four symphonies (recorded by CPO). These works have everything one could ask for in a classical symphony: memorable melodies, sturm und drang, and vivacious energy.

Etienne Mehul: Four symphonies (recorded by Nimbus). Riveting, Beethovenian works which deserve to be much better known. Great orchestration, too!

Ferdinand Ries: Eight symphonies (recorded by CPO). As Ries was a student of Beethoven, the elder composer's influence is undeniable, but Ries adds his own touch with his brand of mellifluous lyricism.

Jan Vaclav Vorisek: Symphony in D (recorded by Hyperion). A vigorous work in approximation to late Mozart and early/mid-period Beethoven.

Juan Crisostomo Arriaga: Symphony in D (recorded by Hyperion). A beautiful, vivacious work which assimilates the influences of Mozart, Schubert, and Italian opera into a compellingly individual mix.

Anton Eberl: Symphony in E-flat, op. 33 (recorded by Teldec). An interesting precursor to Beethoven's Eroica, and not just because of the key.

Joseph Martin Kraus: Symphonie Funebre in C minor and some of his other later symphonies. Very imaginative music, with unexpected harmonic modulations and forward-looking orchestration. Kraus is often dubbed "The Swedish Mozart", but his music doesn't sound much like Mozart at all!

[Anyone who collects large-scale, huge-orchestra, vividly orchestrated, film-music-ish ballet scores will be absolutely delighted by this full-length (70 min.) ballet which was part of the 90th anniversary season of Finnish National Ballet in 2012. Kantelinen is a highly successful film composer, so that explains a lot. But he plainly loves Tchaikovsky and the Russian romantic school too (see the sequence of national dances in the center of the work: Swedish, Spanish, Russian and, to modernize things a bit, Persian and Japanese!). Wide dynamic range and pretty wide spacial recording too - just try the "Market Square" and "Final Battle" tracks (you may need to warn your neighbors).]

Wait! Before any gasps are uttered, let me assure you that Kantelinen's richly romantic music is well within UC's remit. Here's what Records International says about the ballet:

Anyone who collects large-scale, huge-orchestra, vividly orchestrated, film-music-ish ballet scores will be absolutely delighted by this full-length (70 min.) ballet which was part of the 90th anniversary season of Finnish National Ballet in 2012. Kantelinen is a highly successful film composer, so that explains a lot. But he plainly loves Tchaikovsky and the Russian romantic school too (see the sequence of national dances in the center of the work: Swedish, Spanish, Russian and, to modernize things a bit, Persian and Japanese!). Wide dynamic range and pretty wide spacial recording too - just try the "Market Square" and "Final Battle" tracks (you may need to warn your neighbors).

If that doesn't sound attractive, I don't know what does! It's not exactly a new release, but it certainly deserves mention here.

http://ondine.net/?lid=en&cid=2.2&oid=5086

I've been intrigued by this Romanian late-romantic who was an exact contemporary of Gliere. His French Wikipedia article provides a tantalizing work list, including a symphony and four concertos: http://fr.m.wikipedia.org/wiki/Stan_Golestan

There's a couple short chamber works by Golestan on YouTube, and his Romanian Rhapsody for orchestra has been recorded on CD: http://www.amazon.com/gp/aw/d/B00000G2IQ/ref=mp_s_a_1_5?qid=1388861893&sr=8-5&pi=AC_SX110_SY165_QL70

IMSLP holds his Arioso and Allegro de concert for viola and piano (which is on YT) and a promising-looking Violin Sonata: http://imslp.org/wiki/Category:Golestan,_Stan

Anyone have more info on Golestan?

[As you can see from the dates, we don't know a heck of a lot about Ms. Sarnecka except that she died from tuberculosis, studied with Leschetitzky (piano) and Wladyslaw Zelenski (composition), published her early works at her own expense and was savaged by critics for being weird, depressive and "chaotic" in form and content. Yet the Ballade recorded here took second place to Szymanowski in a competition marking Chopin's 100th birth anniversary. Some of this music will remind you of Rachmaninov or Medtner, some of it of the virtuosity of, say, Godowsky. It's not futuristic in the sense of late Scriabin - it wears its late Romanticism proudly - but it's definitely not chaotic (although it isn't the music of a happy soul). A great discovery leaving us hoping that this pianist, who tracked down all Sarnecka's manuscripts, will find the means to record more.]

Another interesting rarity advertised by Records International in their January catalogue: http://recordsinternational.com/cd.php?cd=01P052

As you can see from the dates, we don't know a heck of a lot about Ms. Sarnecka except that she died from tuberculosis, studied with Leschetitzky (piano) and Wladyslaw Zelenski (composition), published her early works at her own expense and was savaged by critics for being weird, depressive and "chaotic" in form and content. Yet the Ballade recorded here took second place to Szymanowski in a competition marking Chopin's 100th birth anniversary. Some of this music will remind you of Rachmaninov or Medtner, some of it of the virtuosity of, say, Godowsky. It's not futuristic in the sense of late Scriabin - it wears its late Romanticism proudly - but it's definitely not chaotic (although it isn't the music of a happy soul). A great discovery leaving us hoping that this pianist, who tracked down all Sarnecka's manuscripts, will find the means to record more.

(from Records International)

[This long-forgotten composer was a close associate of Saint-Saëns and modelled his music on that master and on Massenet, whom he considered the next great French composer of his time. These two works present a lovely combination of surging romantic melody and rhythmic ingenuity along with contrapuntal workings which combine French and German period styles in the best possible way. Another compellingly listenable resurrection courtesy of the Palazzetto Bru Zane's foundation for discovering forgotten French romantic composers.]

This composer has been brought up before here, but I don't believe the release of this new disc of his chamber music has been mentioned yet: http://recordsinternational.com/cd.php?cd=01P045

This long-forgotten composer was a close associate of Saint-Saëns and modelled his music on that master and on Massenet, whom he considered the next great French composer of his time. These two works present a lovely combination of surging romantic melody and rhythmic ingenuity along with contrapuntal workings which combine French and German period styles in the best possible way. Another compellingly listenable resurrection courtesy of the Palazzetto Bru Zane's foundation for discovering forgotten French romantic composers.

(from Records International)

[There is very little information about this composer but it may be that his career after World War II was harmed by the work he did scoring Nazi "Kulturfilm" productions which promoted German town and country life in that best of all possible Reichs. Three of these are included here and contain much lovely, conservative Romantic music, some of which is almost pictorial (well, "Spring in Halle" pretty much lets you know what would be going on on screen, doesn't it?). But his Münchhausen overture is full of Richard Straussian bluster and bonhomie and the opera prologue is the best thing here - quasi-Expressionist in its vivid colors right out of Schreker and/or Zemlinsky.]

How about this intriguing release of (shortish) orchestral works by the virtually unknown German composer Curt Protze (1891-1967): http://recordsinternational.com/cd.php?cd=01P004

Judging by Records International's description of the recording, it appears Protze would fall within UC's remit:

There is very little information about this composer but it may be that his career after World War II was harmed by the work he did scoring Nazi "Kulturfilm" productions which promoted German town and country life in that best of all possible Reichs. Three of these are included here and contain much lovely, conservative Romantic music, some of which is almost pictorial (well, "Spring in Halle" pretty much lets you know what would be going on on screen, doesn't it?). But his Münchhausen overture is full of Richard Straussian bluster and bonhomie and the opera prologue is the best thing here - quasi-Expressionist in its vivid colors right out of Schreker and/or Zemlinsky.

It's not exactly cheap, but as an insatiable collector of late-romantic orchestral music I will most likely be snapping this one up!

[Glazunov's First]

I'll limit myself to one contribution, as to prevent indulging in that oh-so dreaded list-making! I'm no expert in the field of solo piano music as my main focus is orchestral music, but I must say that one unsung piano sonata that has struck me like no other is Glazunov's First. It's a simply stunning work, filled with a passion that defies any notions that Glazunov was a pedestrian composer. Its melodies have that rare ability to stick in one's head. Of particular note is the raptly beautiful slow movement. This work is probably in my top five piano sonatas, or at least my top ten. Steven Coombs' magisterial recording on Hyperion handles the work's virtuosic demands with aplomb and makes the work out to be a masterpiece.

Does anyone else know this work? What are some other remarkable piano sonatas from the realm of the unsungs?

Correct me if I'm wrong, but Hungary seems to have had a comparative scarcity of composers during the Romantic Era, as opposed to most other European countries. Only Liszt and von Dohnanyi have any considerable recognition today. (We mustn't forget, though, that Bartok's early works and Kodaly's Summer Evening and SQ no. 1 are in a late-romantic style). I am only aware of six other Hungarian romantics:

Ferenc Erkel (1810-1893): Composer of nationalist operas. I'm ashamed to say I'm not familiar with any of his music.

Mihaly Mosonyi (1815-1870): Composer of mainly instrumental music influenced by Beethoven, Mendelssohn and Chopin. Marco Polo has recorded three discs of his music. I only know the disc with his Symphony and PC; I enjoyed the rather Beethovenian symphony but was not particularly impressed with the concerto.

Julius (Gyula) von Beliczay (1835-1893): Not much information on this composer can be found. There is an OOP Hungaroton disc of his Symphony in D minor and Serenade for Strings. I must say I was very impressed by the Symphony, a dramatic work rather akin to Volkmann's First. Don't recall what the Serenade is like. I see there are threads on him here.....

Odon Mihalovich (1842-1929): Now this is an intriguing composer. Only some of his songs have been recorded (on Hungaroton), which I haven't heard. Wikipedia says that he was strongly influenced by Wagner and his works incorporate elements of Hungarian nationalism. He composed five complete operas, four symphonies, seven symphonic poems, among other works. IMSLP holds the full score of of his Symphony no. 1.

Emanuel Moor (1863-1931): I've brought him up before; another intriguing and prolific composer. He composed five operas, eight symphonies, over a dozen concertos, and numerous chamber and piano works. A couple discs of his chamber music involving cello have been released, and they display an imaginative mind at work. As I announced recently, his Concerto for Two Cellos has been recorded, but I haven't heard it yet. A great deal of his music is held at IMSLP.

Miklos Radnai (1892-1935): Mainly noted as a conductor and an enthusiast for premiering new works, Radnai was also a composer who, according to Wikipedia, composed in an post-romantic, impressionistic vein. Among his major works are two operas, a choral symphony Symphony of the Magyars, a violin concerto, and several orchestral and chamber works. Nothing of his has been recorded.

Also, there's Miklos Rozsa, but his music is more neo-romantic than truly "romantic".

So, any thoughts on the composers listed above? Who am I missing?

Tobias' masterful oratorio Des Jona Sendung (Jonah's Mission) is one of the most impressive choral works, sung or unsung, ever written IMHO. It's difficult to know where to begin describing this monumental work. It really doesn't sound like much else-the closest points of comparison I can possibly think of are Sibelius' Kullervo, Schmidt's Buch mit sieben Siegeln, and Liszt's Faust Symphony. It is a truly thrilling work, covering a very wide range of styles and moods. It must be heard to be believed; therefore, we are truly fortunate to have the outstandingly committed BIS recording of the work, led by the indefatigable Jarvi. Perhaps Rob Barnett can give those unfamiliar with this masterpiece a better idea of what exactly it entails: http://www.musicweb-international.com/classrev/2001/Oct01/Tobias.htm

While Pijper's later works fall outside the remit of this forum, his late-romantic First Symphony, composed in 1917, would not. In my estimate, it is a most impressive work which draws upon Mahler as its primary influence, though its duration of 33 minutes is not long by late-romantic standards. Though the influence of the great Austrian symphonist can be felt significantly in the work's harmonic language, it is, overall, not as melodramatic as Mahler (not to disparage Mahler, of course). Some passages show that Pijper was well aware of the impressionistic trends of the time, adding a Debussian delicacy to the work. Do give this fine piece a listen, especially if you're a late-romantic symphony nut like I am! Here's the link: http://youtu.be/KfSev1yslxU