# Works from your favourite composers that...



## Lisztian (Oct 10, 2011)

I'm sure there has been a thread like this before (probably many times), but being a Liszt fan it is a topic that interests me greatly. What are the works by your favourite (famous) composers that you feel are neglected and under-appreciated - ones that you feel that are among their best works but are rarely talked about or never given their due credit compared to their other works?


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## ComposerOfAvantGarde (Dec 2, 2011)

*Ligeti's* nonsense madrigals are superb. Wagner's Rienzi and Symphony in C, however unoriginal the symphony sounds (I think Beethoven's Tenth is a much more fitting title to that than Brahms' first) I think it's good music and should be heard more. Nyman's complete works apart from The Piano film score are sadly only listened to by a small group of fans.


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## Ramako (Apr 28, 2012)

Haydn's 44th symphony, also 43,51,52,53,39,61... even Symphony A. The London symphonies are much more famous than anything else for no strong reason other than they sound more like Mozart than the rest. There are many symphonies earlier that are better than the Paris symphonies, which get attention as well, IMO.


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## neoshredder (Nov 7, 2011)

Don't forget Haydn's Op. 20 String Quartets.


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## emiellucifuge (May 26, 2009)

Dvorak's two most perfect works are never mentioned here:

Scherzo Capriccioso
Te Deum


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## Lisztian (Oct 10, 2011)

Here are a few Liszt works that fill the bill here.

_Missa solennis zur Einweihung der Basilika in Gran_ (the 'Gran' mass): More than any other his other choral works this is the one that most fit Liszt's ideal as written in his essay "On the future of Church Music" in 1834, where he wrote in regards to church music: "It must be devotional, strong, and drastic, uniting on a colossal scale the theatre and the church, at once dramatic and sacred, splendid and simple, ceremonial and serious, fierce and free, stormy and calm, translucent and emotional." It is _the_ mass for the lovers of both 19th century music and the deeply religous. According to Michael Saffle: "With the sole exceptions of Beethoven's great Mass in D and Brahms' Ein deutsches Requiem, the Gran mass deserves to be acknowledged as the greatest of all 19th century European sacred choral compositions. It demonstrates a grasp of compositional technique and a depth of religious conviction unequalled by any other 19th century composer." It is a complex composition and requires a certain amount of study to understand (luckily Zeller wrote a book about the work) but it is very enjoyable without this knowledge. Here's a decent - not too good and not too bad - recording on youtube (the rest can be found from the link).






_Christus_: Another choral masterwork of Liszt, his great oratorio _Christus_ is, as far as Liszt specialist Leslie Howard is concerned, Liszt's greatest work and the greatest oratorio of the 19th century. It has been maligned for a few reasons over the years - the overall 'patchiness' of the work, a lack of thematic unity and some lesser sections (I disagree with these criticism's for the most part although I do think that a couple movements in the first part go for too long) - but this is a work that deserves to be mentioned among the greatest 19th century choral works. It contains everything from the most introverted devotion to tremendously austere sections describing the darker times in Jesus' life to movements similar to Liszt's symphonic poems. It needs to be taken as what it is though. It isn't a work of great architecture - it is basically a suite of 14 compositions with limited (but present) unity describing certain times in the life of Christ. Here's a great recording by Helmuth Rilling (again, the next two parts can be found directly from the video).






_Psalm XIII_: Another of Liszt's finest choral works, this 25 minute work is one of Liszt's most personal and glorious pieces. It was written when Liszt had been continously criticised in numerous ways for a very extended period of time and it basically depicts Liszt's uncertainty/frustration, followed by his faith in God's will for him. Liszt claimed that it came to him out of abundance of the heart and while it has been described as theatrical (the first, most well known recording of it is probably to blame here) - it is a full blooded work - it as a beautiful, expertly crafted gem and I cannot for the life of me understand why it isn't performed with regularity - it could be a choral favourite.


__
https://soundcloud.com/josh831821%2F5991811126124-01-01

Actually, Liszt's Psalm's in general are very good and deserve more recognition. Two other favourites of mine are 23 and 137. 18 is nice, too.

_Dante Symphony_: This work has perhaps been the most criticised of Liszt's large scale works. While the Faust symphony has rightly been recognised as a masterpiece this great symphony has continued to be neglected and trashed. Almost all of these criticism's are hokum but some are more accurate. Liszt did not depict Paradise in music, on Wagner's advice, and ever since the work has been deemed unbalanced and inconclusive. I of course disagree with this - it is a shame what he decided to leave out, but it's brilliantly left as is - and it is one of my very favourite symphonies. It is a tremendously innovative work and IMO one of Liszt's greatest.






_Héroïde funèbre_: IMO Liszt's greatest tone poem and one of the darkest works of the 19th century. It can be difficult to get into - especially this dragging recording - due to the straight forward nature of the first half of the work, but it is utterly devastating taken in full.






_Variations on a theme from Weinen, Klagen, Sorgen, Zagen_: This work was written when two of Liszt's children had recently died and he and his music had basically been chased out of Weimar. It is much the same subject as the 13th Psalm but instead of uncertainty for the first part of the work, it is sheer anger, rage, and despair.






Here are some more.

_Via Crucis_ (or for piano, instead of organ).
_Von der Wiege bis zum Grabe_.
_Orpheus_.
_Pensée des morts_.
_Der nàchtliche Zug_.

There are, of course, many more (Liszt's output here is probably as big as most composer's full output's) but that's (more than) enough for now.


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## Klavierspieler (Jul 16, 2011)

Schumann's oratorio _Paradise und die Peri_, his overtures, _Overture, Scherzo and Finale_, _Phantasiestücke_ for piano trio, along with all of his late works.


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## moody (Nov 5, 2011)

Beethoven's "Christ On the Mount of Olives",Op.85. For tenor, soprano, bass , orchestra and chorus.
I never see it mentioned anywhere and I think it's good stuff.


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## Vesteralen (Jul 14, 2011)

This may not exactly fit, but I've always felt that Vaughan Williams' symphonies are not appreciated enough. Everybody seems to think of him in pastoral mode - i.e. Symphony No 5 - and they assume that's what all his symphonies sound like.

Whereas, IMO, his three greatest are No.2 (a fantastically rich tone-poem symphony with some wonderful lively moments and thrilling climaxes), No. 4 (visceral and brutal) and No. 7 (awe-inspiring and moody in turns).


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## jalex (Aug 21, 2011)

moody said:


> Beethoven's "Christ On the Mount of Olives",Op.85. For tenor, soprano, bass , orchestra and chorus.
> I never see it mentioned anywhere and I think it's good stuff.


I listened to this once. It wasn't bad, but the equally neglected Mass in C is much more deserving of recognition.


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## Guest (Aug 22, 2012)

I was just thinking about this very thing just yesterday. Probably because I'd just finished listening to Prokofiev's _Cantata for the 20th Anniversary of the October Revolution,_ a real stunner, a piece I listen to more frequently than just about any other piece of his. In fact, Prokofiev's oeuvre is full of gems that aren't as well-known as they should be, from the slight but very tasty Divertimento (one recording) to the fierce little Seven, They are Seven to the monumental Semyon Kotko (Prokofiev at the top of his game).

Nielsen, too. That charming little cantata-like piece _Springtime in Funen._ (Get Veto's--Salonen's is too smooth and professional for this kind of piece. Veto's rough edges are just what this music needs to put across its gawky charm.) And the mighty _Aladdin_--only one recording of the complete, Rozhdestvensky's. But it's as good a performance as can be imagined, so....

Berlioz' opera _Benvenuto Cellini_ is a prime example. This is in many ways Berlioz' most progressive piece, chock full of fantastic music that's at the very avant of the Romantic avant garde. And, oddly enough, it's the source of two of Berlioz' more famous and popular pieces, its overture and the Roman Carnival overture. The opera in its entirety is to die for, though, I think, and I'm as big a Berlioz nut as you're ever likely to meet.


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## elgar's ghost (Aug 8, 2010)

Shostakovich's 'Anti-Formalistic Rayok' from the late 40s - a razor-sharp parody of the Zhdanov decree and a dig in general at the cultural commissars and their dumbing-down policy which by then had stymied the Soviet Union arts since the early 30s. The three main characters (referred to simply as firstman, secondman and thirdman) are probably based on Stalin, Zhdanov and Shepilov and Shostakovich provides them with hackneyed folk tunes (including Stalin's favourite, 'Suliko', plus the ubiquitous 'Kalinka' etc.) to accompany their banal exhortations as they address the sheep-like delegates. The text is also by DSCH, a rare literary excursion for him. Written unsurprisingly 'for the drawer', it only saw the light about 20 years later, ironically not too long after the composer got into hot water one last time with his Symphony no. 13. Many of DSCH's later works may have conveyed his innermost misery, fears and resentment in a musically uncompromising manner, but this work is, in its way, every bit as potent.


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## Vesteralen (Jul 14, 2011)

some guy said:


> I was just thinking about this very thing just yesterday. Probably because I'd just finished listening to Prokofiev's _Cantata for the 20th Anniversary of the October Revolution,_ a real stunner, a piece I listen to more frequently than just about any other piece of his. In fact, Prokofiev's oeuvre is full of gems that aren't as well-known as they should be, from the slight but very tasty Divertimento (one recording) to the fierce little Seven, They are Seven to the monumental Semyon Kotko (Prokofiev at the top of his game).
> 
> Nielsen, too. That charming little cantata-like piece _Springtime in Funen._ (Get Veto's--Salonen's is too smooth and professional for this kind of piece. Veto's rough edges are just what this music needs to put across its gawky charm.) *And the mighty Aladdin--only one recording of the complete, Rozhdestvensky's. But it's as good a performance as can be imagined, so....*
> Berlioz' opera _Benvenuto Cellini_ is a prime example. This is in many ways Berlioz' most progressive piece, chock full of fantastic music that's at the very avant of the Romantic avant garde. And, oddly enough, it's the source of two of Berlioz' more famous and popular pieces, its overture and the Roman Carnival overture. The opera in its entirety is to die for, though, I think, and I'm as big a Berlioz nut as you're ever likely to meet.


Good one. I should have thought of that.


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## Klavierspieler (Jul 16, 2011)

Vesteralen said:


> This may not exactly fit, but I've always felt that Vaughan Williams' symphonies are not appreciated enough. Everybody seems to think of him in pastoral mode - i.e. Symphony No 5 - and they assume that's what all his symphonies sound like.
> 
> Whereas, IMO, his three greatest are No.2 (a fantastically rich tone-poem symphony with some wonderful lively moments and thrilling climaxes), No. 4 (visceral and brutal) and No. 7 (awe-inspiring and moody in turns).


A couple of other VW pieces in a similar vein are the Flos Campi and Concerto Grosso. No cows there.


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## pjang23 (Oct 8, 2009)

As always, I have to bring up Brahms Nänie and Alto Rhapsody


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## Sonata (Aug 7, 2010)

some guy said:


> I was just thinking about this very thing just yesterday. Probably because I'd just finished listening to Prokofiev's _Cantata for the 20th Anniversary of the October Revolution,_ a real stunner, a piece I listen to more frequently than just about any other piece of his. In fact, Prokofiev's oeuvre is full of gems that aren't as well-known as they should be, from the slight but very tasty Divertimento (one recording) to the fierce little Seven, They are Seven to the monumental Semyon Kotko (Prokofiev at the top of his game).


Thank you so much for this information  Prokofiev is one of the top composers on my radar to explore in further depth.

As for my thoughts, I don't hear much about *Mendelssohn's choral works*, other than his oratorios. I haven't listened to my whole box yet, but I got to know the choral cantatas very well so far, and I think all of them except the first one are quite lovely, 6-8 in particular.

I've been listening to *Dvorak's piano concerto* lately, and I know it's not nearly as highly regarded as his cello concerto. I think it's just beautiful in its own right though.


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## waldvogel (Jul 10, 2011)

From Hector Berlioz, we have _Le symphonie funebre et triomphale_, which marks Berlioz at his heroic best, and _L'enfance du Christ_, which shows a wonderfully intimate mode that you'd hardly guess was by the same composer.


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## moody (Nov 5, 2011)

Vesteralen said:


> This may not exactly fit, but I've always felt that Vaughan Williams' symphonies are not appreciated enough. Everybody seems to think of him in pastoral mode - i.e. Symphony No 5 - and they assume that's what all his symphonies sound like.
> 
> Whereas, IMO, his three greatest are No.2 (a fantastically rich tone-poem symphony with some wonderful lively moments and thrilling climaxes), No. 4 (visceral and brutal) and No. 7 (awe-inspiring and moody in turns).


Moody yes I like that!


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## moody (Nov 5, 2011)

jalex said:


> I listened to this once. It wasn't bad, but the equally neglected Mass in C is much more deserving of recognition.


Hullo there Jalex. I did not consider that the mass was neglected, so I had a look at my supplier Presto.
IThere to my surprise I saw seven Christus am Oelberg but fifteen masses..
I'll tell you what is farly scarce and that is Beethoven's piano version of his violn concerto.


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## superhorn (Mar 23, 2010)

Gosh, I could write a book about this cool topic. There's so much wonderful music which is easy to find on recordings but which you can almost never hear live .
Dvorak's music is a treasure trove of this . But at concerts, you rarely hear anything of his except the New World symphony , the 7th and 8th symphonies, the cello concerto, and a few other pieces . What a shame !
For example, I have the excellent Naxos CD of Dvorak's four "Slavonic Rhapsodies", which are not to be confused with the much better known Slavonic Dances , divided between Libor Pesek , the late Zdenek Kosler and the Slovak Philharmonic . 
When you hear these irresisatbly melodious and inventive pieces for the first time, you'll wonder where they've been all your life . But so many conductors are content to do the same old handful of works .
The late Virgil Thomson used to sneeringly call this narrow repertoire "The 50 pieces ". 
Fortunately, there are some conductors today who think outside the box , such as Neeme Jarvi, James Conlon, Alan Gilbert ,David Zinman, and several others .


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## Trout (Apr 11, 2011)

Richard Strauss' _Aus Italien_ and _Don Juan_ are both spectacular works that seem to be overshadowed by his later tone poems.


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## StlukesguildOhio (Dec 25, 2006)

With Mozart I think it is somewhat well recognized that along with his piano concertos, his operas and choral music represent perhaps the largest consistently brilliant part of his oeuvre. Certainly there are operas by Mozart with much to offer that are ignored because they exist in the shadow of Le nozze di Figaro, Don Giovanni, etc... I think off hand of _Der Schauspieldirektor_ and _La Clemenza di Tito_... but more to the point I am thinking of Mozart's so-called "concert arias". There are enough of these individual arias to add up to 5-discs... essentially another two Mozart operas... and the finest of these are as brilliant as anything in the operas:











With Schubert (like Liszt) it is his choral works... his masses that rarely seem to come up in discussion of his music.


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## Olias (Nov 18, 2010)

Dvorak's Violin Concerto is fantastic but unfortunately overshadowed by both his cello concerto and the multitude of other violin concerti (Beethoven, Mendelssohn, Brahms, Tchaikovsky).


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## StlukesguildOhio (Dec 25, 2006)

Richard Strauss in generally admired for his tone poems and other orchestral works, and certainly for his operas, but what of his lieder? The Four Last Songs are among the most admired lieder of the 20th century... if not of all time... but these are but a small taste of what he composed within the genre. I would suggest that Strauss was the last great composer within the tradition of German lieder. He produced a broad collection of songs scored for the voice and piano, small chamber ensemble, and full orchestra and composed these over the whole of his career so that it becomes clear that the lieder remained of central importance to him.











It is sad that Gould and Schwarzkopf couldn't successfully work together beyond these three songs. Two strong personalities... each with their own vision of what Strauss intended... but the results are stunning... and the disc as a whole is a must-have:


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## anasazi (Oct 2, 2011)

Vesteralen said:


> This may not exactly fit, but I've always felt that Vaughan Williams' symphonies are not appreciated enough. Everybody seems to think of him in pastoral mode - i.e. Symphony No 5 - and they assume that's what all his symphonies sound like.
> 
> Whereas, IMO, his three greatest are No.2 (a fantastically rich tone-poem symphony with some wonderful lively moments and thrilling climaxes), No. 4 (visceral and brutal) and No. 7 (awe-inspiring and moody in turns).


I'm happy that you mentioned RVW, but I am one of those who admire his 3rd, 5th and 8th symphonies,especially. I will say that I do not hate the others, nor do I think of him as 'pastoral' only. I mostly think of him as a musician who was deeply influenced by writers.

His love of the London book sellers, his settings of text with music. That is what defines him, more and more, for me. Admitedly, his 3rd is not especially relavent to books, it was mostly his reflections on his tour of duty in France during WWI. Not exactly pastoral feelings, although some critics have gone to pains to present it that way.

Symphony #5 has a lot of "Pilgrims's Progress" in it. It was written, I think because RVW did not see that his opera would ever be mounted, so he included a lot of his music in a symphony.

I like his symphony #8 a lot, because it is the ONLY one I have ever heard played live (I live in the USA). AND it is not ABOUT anything but the music. I kind of like that too. Mostly I just enjoy the music.

Of course, I actually like all of RVW's symphonies.


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## moody (Nov 5, 2011)

T he American Flag, Op.102.Cantata. These are both Dvorak.

Suite in A Maj. American, Op 98 b. 

Wagner. Der Liebesmahl der Apostel for chorus and large orchestra.

Bruckner.Helgoland for chorus and orchestra.


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## Vesteralen (Jul 14, 2011)

anasazi said:


> I'm happy that you mentioned RVW, but I am one of those who admire his 3rd, 5th and 8th symphonies,especially. I will say that I do not hate the others, nor do I think of him as 'pastoral' only. I mostly think of him as a musician who was deeply influenced by writers.
> 
> His love of the London book sellers, his settings of text with music. That is what defines him, more and more, for me. Admitedly, his 3rd is not especially relavent to books, it was mostly his reflections on his tour of duty in France during WWI. Not exactly pastoral feelings, although some critics have gone to pains to present it that way.
> 
> ...


Thanks for the above. I may have read something along the lines of what you said about the 3rd and the 5th symphonies, but if I did, I obviously forgot it. 

I love the 8th as well. Very...... well, I guess I'd say "festive" for RVW.

Actually, I'm one of those rare ones who enjoy all of his symphonies - the 1st is also thrilling in parts and is a beautiful choral piece, and the 6th is dark like the 4th, but not in a brutal way - more chilling. I guess the only one I don't know much about is the 9th. I only recently heard it for the first time and I seemed to catch the spirit of the 5th in it to a great degree.

Anyway, the symphonies of RVW stand, _for me_, alongside Nielsen's as the most satisfying symphony *sets* of the 20th century (and I include Shostakovich and Prokofiev in this because neither of them , IMO, preserved the same level of quality throughout their entire symphonic output.)

Oh, am I going to get in trouble for saying that! 

(And wait till the Sibelians get a load of this, too...)


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## campy (Aug 16, 2012)

Robert Schumann's "symphony without a slow movement," his Overture, Scherzo and Finale (op. 52), is one of his finest orchestral works IMO and deserves more respect.


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## Guest (Aug 23, 2012)

Interesting thread. I'll toss in one:

Sibelius's Snofrid is an awesome work, better in my opinion than Finlandia. 

Edit: Okay, maybe they are of comparable quality, but obviously Finlandia gets much more attention.


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## SottoVoce (Jul 29, 2011)

Early Beethoven, especially opus 2 no 1 Piano Sonata, the opus 18 String Quartets (I love every single one of them), and the Octet.


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## Arsakes (Feb 20, 2012)

*Dvorak*'s 1st and 3rd symphonies, _Husitska Overture_ and _Legendy_.
*Haydn*'s Piano Trios and Symphonies #1,2,3,4
*Rimsky-Korsakov*'s 1st and 3rd Symphonies.
*Mussorgsky*'s _Symphonic Synthesis of Borus Godunov_.
*Khachaturian*'s Piano and Violin Concertos.
*Ippolitov-Ivanov* and *Berwald* in general..
*Handel*'s Oboe Concertos.
* Smetana*'s Festive Symphony.
*Sibelius* Piano sonatas.


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## Huilunsoittaja (Apr 6, 2010)

Everything ever written by the "other" Russian Composers.


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## Dirge (Apr 10, 2012)

Béla BARTÓK: 3 Études, Op. 18 (1918) ~ These diabolical little piano pieces are not under-appreciated, but they're neglected because they're so brutally difficult to play, let alone play well. The 1st Étude features a chromatic blizzard of alternating seconds and thirds and ninths and tenths that result in a wonderful oscillating sense of harmonic struggle and instability; superficially, it might make you think of "The Chase" from _Out of Doors,_ if only fleetingly. The 2nd Étude features a beautiful chromatic melody and a wide array of ever-changing arpeggios; it has something of a "night music" atmosphere about it, with all manner of insidiously sophisticated harmonic transformations taking place in the glittering chromatic moonlight. The Molto sostenuto section of the 3rd Étude features a perpetually moving left hand laying down a foundation of fast-moving sixteenth-notes played in complex irregular rhythms, with time signatures changing almost every measure; this constant regrouping of notes results in an ever-changing pattern of accentuated notes, which results in an ever-changing pulse. While all that is going on, the right hand plays irregularly and asymmetrically spaced staccato chords that hop, skip & jump across the sixteenth-notes like a cat on a hot tin roof. (That's my dubious understanding of what's going on after reading all the descriptions of this Étude that I could find. For the most part, however, it remains magic to me.) I recommend the Jerome Lowenthal recording on his superb all-Bartók album on Pro Piano.

Ralph VAUGHAN WILLIAMS: _Merciless Beauty_ (1921) ~ These three little pieces for voice and string trio (two violins & cello) are settings of rondels once attributed to Chaucer but now believed to be mis-attributed to Chaucer. "Those strange cold Chaucer Rondels," as Simona Pakenham describes them, are indeed strange and cold, especially by Vaughan Williams standards, but they are beautifully strange and cold. The first two songs are expressive in a flowing but lyrically undulating sort of way that puts the onus on the singer's phrasing agility and way with words-there's no cover for a less-than-excellent singer to hide behind here. The string writing of the rhythmically pointed and upbeat final song makes me think ahead to the Quodlibet from John Cage's _String Quartet in Four Parts_ (1950), and the work as a whole may have inspired Julián Orbón's nifty _Tres cantigas del rey_ (1960), a sort of colorful neo-Spanish Renaissance counterpart to _Merciless Beauty._ I recommend the Philip Langridge, Endellion String Quartet (minus violist) recording on EMI.

Arthur HONEGGER: String Quartet No. 3 (1937) ~ This concise, highly polyphonic quartet is a stepping stone in the path to the composer's Second Symphony; it's gruffer and rawer than the Symphony, and I'm not sure that I don't find it more interesting and compelling. The Allegro first movement is grim and gritty, with a strong Bartókian feel to its themes, but it sometimes moves in a relentless Shostakovich sort of way. The Adagio second movement is a gloomy but beautiful set of variations, with a slightly ominous repeated bass underlying much of it; Honegger lets the mood sink in for a while before he gives full voice to the movement through an aching lament on violin-very effective and affecting, especially when answered by viola. The Toccata (Allegro) third/final movement contains the primordial nuts & bolts out of which the Second Symphony was erected, including the closing chorale. (The First and Second Quartets are perhaps as good as the Third, but I just happen to favor the latter.) I recommend the Erato Quartet recording on Aura.

Alberto GINASTERA: _Hieremiae prophetae lamentationes_ (1946) ~ Ginastera's settings of three texts from the «Lamentations of Jeremiah» are varied in style and unusual in tone, each in its own way having a sense of reverence laced with restlessness and anxiety. The first movement, "O vos omnes," begins with a fierce, mock-primitive declamatory opening reminiscent of Stravinsky's _Les Noces_ and then proceeds like a medieval fugue that sounds like a rogue contrapuntal episode that Orff excised from _Carmina Burana_ at the last moment. The slow and somber second movement, "Ego vir videns," is given an edgy and faintly eerie complexity by the subtle modern harmonies, which sound more adventurous than Poulenc's but not so adventurous as Penderecki's or Ligeti's-save perhaps for the deep bass descent near movement's end, which sounds like an omen of the 1960s choral avant-garde. The relatively free and varied third movement, "Recordare," provides something of an outlet for the pent-up tensions of its predecessors; if it sounds more conventional than the other movements, it's far from ordinary, and I liken it to Poulenc's _Figure humaine_ in a some ways. I recommend the Kent Tritle/Choir of St. Ignatius Loyola recording on MSR.
http://www.myspace.com/568039446/mu...eremiah-schnittke-concerto-for-choir-17678661


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## MJongo (Aug 6, 2011)

Shostakovich: Symphony No. 15. IMO it is the composer's magnum opus. Incredibly emotionally powerful, and one of the greatest works of music ever.


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## Machiavel (Apr 12, 2010)

Berlioz: Lélio

Mozart: string trio kv 563

Mendelssohn: Piano trio, Piano concertos

Brahms: 4 serious songs- Vier ernste Gesänge.


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## Avengeil (Aug 16, 2011)

SottoVoce said:


> Early Beethoven, especially opus 2 no 1 Piano Sonata


I wouldn't say that this sonata is being ignored that much, every single piano student plays it as the introductory piece to start working with beethoven, yet I have to say that you never hear the last movement which one of my favorites for a long time.... Maybe I've just gotten sick of it after hearing it so many times...

I'd also add to the list these two...I wonder what was on Liszt's mind when making these compositions...I have heard the wagner's death premonition story but it doesn't explain the less difficulte technical aspects and the lovely experimenting.


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## Webernite (Sep 4, 2010)

Mozart string quartets, especially the Prussian quartets.


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## moody (Nov 5, 2011)

MJongo said:


> Shostakovich: Symphony No. 15. IMO it is the composer's magnum opus. Incredibly emotionally powerful, and one of the greatest works of music ever.


I think it is well known.


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## moody (Nov 5, 2011)

Machiavel said:


> Berlioz: Lélio
> 
> Mozart: string trio kv 563
> 
> ...


The Brahms songs are very well known


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## Machiavel (Apr 12, 2010)

moody said:


> The Brahms songs are very well known


I took the question in the context of TC. Find me threads-quotes on TC that talk about Brahms 4 serious songs. I don't think there is many. Off course if you take the question in it's general context, pretty much all the works mention in this thread are well known.


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## moody (Nov 5, 2011)

Machiavel said:


> I took the question in the context of TC. Find me threads-quotes on TC that talk about Brahms 4 serious songs. I don't think there is many. Off course if you take the question in it's general context, pretty much all the works mention in this thread are well known.


I think perhaps you misunderstood the thread, otherwise I see no point to it. Lisztian will probably clarify. 
As regard your points, I don't think Nielsen's "Aladdin". Berlioz' "Benvenuto Cellini", Shostakovitch' "Anti-Formalistic Rayok" (Good Heavens!), R.Strauss'"Aus Italien", Dvorak A lot of that mentioned , Beethoven.s "Christ On the Mount of Olives"
are well known to many people in general.


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## superhorn (Mar 23, 2010)

The little-known ballet score Josephslegende (the legend of Joseph) , based on the biblical story of Joseph and Potiphar's wife , is deliciously sumptuous and decadent , like gorging on the most lucious pastries you could imagine . Scored for a huge orchestra and filled with sensuous ,kaleidascopic colors , it should appeal to any one who loves decadent late romantic music . It was written for Sergei Diaghilev and the Ballet Russes of Paris .
The late Giuseppe Sinopoli recorded it with the Staatskapelle,Dresden for DG , but I have the first recording of the score with Japanese conductor Hiroshi Wakasugi and the tokyo Metropolitan orchestra on Denon .
The classic EMI set of Richard Strauss orchestral music with Rudolf Kempe and the same orchestra has only exceprts from it .


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## superhorn (Mar 23, 2010)

Oops. I meant to say it was by Richard Strauss ! Careless me .


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## SottoVoce (Jul 29, 2011)

Avengeil said:


> I wouldn't say that this sonata is being ignored that much, every single piano student plays it as the introductory piece to start working with beethoven, yet I have to say that you never hear the last movement which one of my favorites for a long time.... Maybe I've just gotten sick of it after hearing it so many times...


Oh, forgive me, I meant opus 2 no. 2. I don't care much for op. 2 no. 1 either, but the A major one is a forgotten gem in my opinion.


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## Avengeil (Aug 16, 2011)

Hmm I've never actually heard it, will do soon and see what my opinion is on how neglected it is...


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## Taneyev (Jan 19, 2009)

Dvorak string quintet op.1, string sextet, his first quartets and all his piano pieces.

Tchaikovsky all his piano pieces and his first early unfinished quartet on one movement.

Rachmaninoff his 2 early string quartets on 2 movements, his pieces for cello and piano and first piano trio

Goldmark all his chamber works.

NRK all his chamber works.

Bartok his early chamber works.

Roparts: all his chamber works.

Leo Weiner all his chamber works.

Dohnanyi all his chamber works.

Reger all his works for solo string

LvB his string quintets

Borodin all his chamber works except second string quartet

Glazunov all his string quartets and string quintet

I could go on for hours..


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