# Which forgotten composers, do you believe worth rediscovering?



## linz

www.Draeseke.org

Felix Draseke: High-Late Romantic composer

Ludwig Spohr: Early Romantic composer

Max Bruch: High-Late Romantic composer

Hans Rott: Late Romantic composer

Felix Weingartner: Late-Post Romantic composer and conductor

Wilhelm Furtwangler: Post-Modern composer and comdcutor

Richard Wetz: Late-Post romantic composer


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## Topaz

Of the list above, I have heard of Ludwig Spohr, and Max Bruch as composers. I've not come across Hans Rott or Richard Wetz, or Felix Weingartner. I thought Wilhelm Furtwangler was only a composer. (Rott and Wetz have rather unfortunate names, don't they?)

Why should these composers be worth re-discovering? I'm not clear what the argument is. I thought Max Bruch wrote one decent work, his Violin Concerto No 1, and that was it, the rest being second/third rate.

Are these guys - with the exception of Bruch - not just further examples of the lost and forgotten? Every music forum website seems to have its burgeoning lists of "under-rated" composers. Some of the candidates I've seen, both here and not a million miles away, look decidely sub-marginal. Also, its' not clear how we are supposed to absorb yet more composers into our listening spectrum without displacing others. Quarts and pint pots etc. No-one seems to give any consideration to this, unless they think we can just extend our overall listening time. If say "Rott's" in, who's out?

Isn't the reality that these so-called under-rated composrs are merely personal favourites of the few, and thus only satisfying niche markets? I think so. I'm afraid that I can't think much else especially if I haven't been given any information at all about these characters on which to form any re-assessment.

One very strange argument sometimes associated with niche composers is that the champions of their work (i.e. the musical artists themselves who perform them) are somehow considered "technically better "than those musical artists who steer clear and confine their attention to the well-proven and generally preferred composers. This argument pops up occasionally, but it has no logic at all. The simple truth is that a lot of non-core music is non-core simply because it's not as good. There is absolutely no basis for arguing that better artists perform such niche market works. On the contrary, generall weaker artists will tend to gravitate to these works, and this fact is normally supported empirically by proper informed opinion.

Topaz


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## robert newman

Linz is completely right on Hans Rott. His symphony is amazing. He was a colleague of Mahler in Vienna and it was Rott who (more than anyone else) influenced Mahler' career. That symphony deserves to be known by everyone. Rott died young in total obscurity. 

Some of the compositions of the phenomenal Romanian pianist Dinu Lipatti are remarkable.

And from the 18th century several (including of course Andrea Luchesi) but also the phenomenally gifted JH Knecht (1752-1817). In my honest opinion JH Knecht is one of the truly greatest composers of the 18th century still largely unappreciated. He wrote wonderful music and was the author of several keyboard and theoretical works which were famous during his lifetime. Knecht was totally devoted to his music and with the exception of an unhappy period of 2 years he spent his entire life in the area of Biberach writing church music and keyboard works. Knecht also wrote a pastoral symphony whose movements are named virtually the same as those later used by Beethoven. Any piece by him is excellent.


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## Saturnus

*Jan Dismas Zelenka* - Late baroque composer and double-bass player

Why? "The trio sonatas but the great masses, too, demonstrate such masterful command of even the most intricate, abstruse polyphonic techniques that a comparison with Bach would surely not be out of place" - Dr. Uwe Schweikert. The trio sonatas refered in this quote are the Six trio sonatas (1721/22) (2 for two oboes and basso continuo, 1 for violin, oboe & basso continuo and 3 for for two oboes, bassoon and basso continuo) and the great masses are the "Missa Ultimae" (Missa Dei Patris, Missa dei Filii & Missa omnium sanctorum) he wrote later (1740/41). 
In contrast to other baroque composers Zelenka wrote rather few pieces, about 150 (Bach wrote 150 cantatas, in comparison). Late in his career he destroyed his earlier works he considered contrapunctally unadeqate, so his complete ouvre does not consists of a few high-quality works and tons of mediocore and even bad (as is the case especially with Telemann).

I think Zelenka was also highly original, most the time I use listening to music goes to the baroque era and I haven't yet heard anything a bit like the fifth trio sonata or the Gloria from 'Missa dei Filii'. And all-over his music is extraordinary. 
So, in quality Zelenka is comparable with great masters such as Bach, and he represents a reasonable number of highly original music. That is why I believe he is worth rediscovering.


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## linz

*Felix Draeseke* was a greatly admired composer in his day, and considered one of the true followers of Wagner and Liszt. His music is becoming more appreciated all the time. His mastery of counterpoint is well known. Franz Liszt called one of his piano sonatas one of the best after Beethoven. Hans von Bulow and Karl Bohm were fond of his compositions. Franz Liszt also called him a 'true giant'.


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## Kurkikohtaus

Aside from the violin concerto, *Bruch* also wrote *Kol Nidrei* for Cello and Orchestra and the *Scottish Fantasy* for violin and orchestra.

*Kol Nidrei* is sort of a sister-piece to *Bloch*'s *Schelomo*, and although cellists prefer the showier _Schelomo_, I think _Kol Nidrei_ is a more honest work.

The *Scottish Fantasy* is probably performed even more than the Violin concerto, given its programmatic nature and obvious pairing with other "Scottish" symphonic music.

All in all, I like these 3 pieces, but the problem is decadence. At best his works are a hommage to Mendelssohn and perhaps a little bit of Schumann, but it's all 20-30 years too late and too much *schlock* permeates the works, given their intentions as serious classical forms.


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## oisfetz

linz said:


> *Felix Draeseke* was a greatly admired composer in his day, and considered one of the true followers of Wagner and Liszt. His music is becoming more appreciated all the time. His mastery of counterpoint is well known. Franz Liszt called one of his piano sonatas one of the best after Beethoven. Hans von Bulow and Karl Bohm were fond of his compositions. Franz Liszt also called him a 'true giant'.


Agree. And he was the only one to write a quintet with violotta (I've it)


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## BassFromOboe

How about Berwald and Bantock. They both wrote some fantastic stuff, but most people have never heard of them.


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## Manuel

linz said:


> www.Draeseke.org
> Max Bruch: High-Late Romantic composer


I don't really think he should even be in this list. He had such a personal style that as listeners we can recognize his works whenever we hear them. His most recorded works are the first violin concerto and Schelomo; but there are many more, and all of them very good (or at least interesting), he composed a second violin concerto, his Scottish Fantasy (for violin and orchestra), a double concerto for clarinet and viola (there's a violina/viola recording by Sitkovetsky), pieces for piano, clarinet and viola, many symphonies (from which I suggest the third, most of all). Besides, almost every concert violinist has played and recorded his first violin concerto, so we should be fair to him and remove his name from the list.



linz said:


> www.Draeseke.org
> Hans Rott: Late Romantic composer


Not a hard work discovering him. He left only one symphony.

Ermanno Wolf-Ferrari. Composer of many interesting operas (L'amor medico, Gioiella della Madonna, etc), a concerto for a wind instrument, a serenade for chamber orchestra (I don't really remember the work, it's somewhere there in my collection), and a very good violin concerto, recorded by the astounding violinist Guila Bustabo.

Tikhon Khrennikov. He composed very much in the russian traditional style, so his concertos sound a bit like Kabalevsky, but they're interesting too. There's an explosive version of the first vc by Kogan. His orchestral works, like A Hussar Ballad, may deserve more attention.

_More to come. But I should go to study piano._


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## robert

Topaz said:


> Of the list above, I have heard of Ludwig Spohr, and Max Bruch as composers. I've not come across Hans Rott or Richard Wetz, or Felix Weingartner. I thought Wilhelm Furtwangler was only a composer. (Rott and Wetz have rather unfortunate names, don't they?)
> 
> Why should these composers be worth re-discovering? I'm not clear what the argument is. I thought Max Bruch wrote one decent work, his Violin Concerto No 1, and that was it, the rest being second/third rate.
> 
> Are these guys - with the exception of Bruch - not just further examples of the lost and forgotten? Every music forum website seems to have its burgeoning lists of "under-rated" composers. Some of the candidates I've seen, both here and not a million miles away, look decidely sub-marginal. Also, its' not clear how we are supposed to absorb yet more composers into our listening spectrum without displacing others. Quarts and pint pots etc. No-one seems to give any consideration to this, unless they think we can just extend our overall listening time. If say "Rott's" in, who's out?
> 
> Isn't the reality that these so-called under-rated composrs are merely personal favourites of the few, and thus only satisfying niche markets? I think so. I'm afraid that I can't think much else especially if I haven't been given any information at all about these characters on which to form any re-assessment.
> 
> One very strange argument sometimes associated with niche composers is that the champions of their work (i.e. the musical artists themselves who perform them) are somehow considered "technically better "than those musical artists who steer clear and confine their attention to the well-proven and generally preferred composers. This argument pops up occasionally, but it has no logic at all. The simple truth is that a lot of non-core music is non-core simply because it's not as good. There is absolutely no basis for arguing that better artists perform such niche market works. On the contrary, generall weaker artists will tend to gravitate to these works, and this fact is normally supported empirically by proper informed opinion.
> 
> Topaz


Rott wrote one great symphony, Gerhard Samuel on Hyperion

Wetz wrote five symphonies on CPO and Sterling.....worth investigating....


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## Manuel

> I thought Wilhelm Furtwangler was only a composer


LOL.

He is widely known as a conductor actually (Toscanini's great enemy ). His composer side is mostly a rare thing.


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## LindnerianSea

robert said:


> Rott wrote one great symphony, Gerhard Samuel on Hyperion
> 
> Wetz wrote five symphonies on CPO and Sterling.....worth investigating....


Hi Robert, I am afraid to tell you that Wetz only wrote three, not five symphonies. (Of course, one only wishes that he wrote five).


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## StlukesguildOhio

I don't think Zelenka is "forgotten". Certainly not to aficionados of the Baroque. He ranks among the finest (beyond Bach, Vivaldi, and Handel) including Rameau, Lully, Buxtehude, Telemann, Biber, and Corelli. 

Among the more unjustly "forgotten" of the Baroque era I would include Alessandro Scarlatti (Domenico's daddy), Jean-Fery Rebel, Johann Schmeltzer, Johann Westhoff, Johann Joseph Fux (now THAT'S an "unfortunate" name:lol, Pietro Locatelli, Giuseppe Valentini, J.C. Bach, etc...


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## Altus

I would add Francesco Maria Veracini, Francesco Durante, Johann Stamitz, Johann Pisendel (Vivaldi's pupil for some time), Antonio Caldara, and Giovanni Battista Sammartini to the list as well!


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## GGluek

Suppose we re-name the thread: "Works worth a listen by forgotten or otherwise forgettable composers"?


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## Neo Romanza

My vote, for right now (it could change in a minute ), goes to the Swede composer Bo Linde. His life was cut tragically short but he left behind some stellar music. His _Violin Concerto_ is definitely worth listening to whenever you have the time.


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## StlukesguildOhio

Suppose we re-name the thread: "Works worth a listen by forgotten or otherwise forgettable composers"?

This would presume that all such unjustly forgotten composers had but one of two "hits". In some instances this may be true... but not always. Bruch, Stamitz, Zelenka, Caldara... many of the Baroque composers I named... all have a sizable oeuvre of impressive music.


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## Guest

And my vote goes to *Franz Schreker*, who is having a bit of a revival, notably his opera _*Der ferne Klang*_ (_The Distant Sound_). To quote Christopher Hailey (Franz Schreker Foundation, Pennington, New Jersey): _If Franz Schreker had written no other work, Der ferne Klang would assure his place in music history. Its very title conjures up the lingering lure of Romanticism and the bracing challenge of new musical frontiers that have come to define Schreker's special place in Viennese modernism. At the same time it is an opera so rich in innovation that it seems to have anticipated the music of composers ranging from Alban Berg to György Ligeti, Hans Werner Henze to today's spectralsits_.
And this a work first performed in 1912.


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## MagneticGhost

My votes go to

Samuel Coleridge Taylor (1875-1912) with his Hiawatha, his Clarinet Quintet and 24 Negro Melodies. 

Edmund Rubbra (1901-1986) also brilliant and composed an impressive body of works over a full lifespan including a very fine symphonic cycle.


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## violadude

MagneticGhost said:


> Edmund Rubbra (1901-1986) also brilliant and composed an impressive body of works over a full lifespan including a very fine symphonic cycle.


I love Rubbra's symphony cycle. It's at least as good as RVW's imo. They were pretty different though so maybe I shouldn't compare.


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## MagneticGhost

violadude said:


> I love Rubbra's symphony cycle. It's at least as good as RVW's imo. They were pretty different though so maybe I shouldn't compare.


They are quite different but it's worth comparing not least because RVW himself considered Rubbra his symphonic successor.


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## superhorn

The Czech composer Zdenek Fibich (1850-1900 ) is almost totally unknown outside of the Czech republic
except for recordings . Anyone who enjoys the music of Smetana and Dvorak should find his music very appealing . It's a bit more interantional in style than the other two but definitely Czech in feeling .
I have the excellentChandos recordings of his three symphonies conducted by Neeme Jarvi , who can always be
counted on to champion offbeat repertoire, with the Detroit symphony . They are highly melodious and well-crafted works , and I'm sure the Detroit audiences enjoyed them when Jarvi conducted them live . 
If you can find the Supraphon recording of Fibich's opera Sarka (Sharka) , grab it ! It's the same story you find in Sarka froim Smetana's Ma Vlast , and Janacek's first opera uswes the same subject material .
You will where this terrific opera has been all your life ! It is sometimes performed in the Czech republic, but I don't know if it's ever been done elsewhere . Leon Botstein should investgate it for a possible performance with his American symphony orchestra . 
I definitely want to hear more of this composer's music.


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## Neo Romanza

MagneticGhost said:


> My votes go to
> 
> Edmund Rubbra (1901-1986) also brilliant and composed an impressive body of works over a full lifespan including a very fine symphonic cycle.


A very underrated composer IMHO. I've listened to the Hickox symphonic cycle on Chandos many, many times. Great stuff!


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## clavichorder

Definitely Medtner is always worth a closer look. But many people seem to have an apathetic snap judgement of him. Its possible that performers don't yet play him with proper feeling often enough.


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## Novelette

StlukesguildOhio said:


> Among the more unjustly "forgotten" of the Baroque era I would include Alessandro Scarlatti (Domenico's daddy), Jean-Fery Rebel, Johann Schmeltzer, Johann Westhoff, Johann Joseph Fux (now THAT'S an "unfortunate" name:lol, Pietro Locatelli, Giuseppe Valentini, J.C. Bach, etc...





Altus said:


> I would add Francesco Maria Veracini, Francesco Durante, Johann Stamitz, Johann Pisendel (Vivaldi's pupil for some time), Antonio Caldara, and Giovanni Battista Sammartini to the list as well!


Great lists! I would add Wagenseil, Cannabich, Destouches, Porpora, Michael Haydn, Duschek, Dandrieu, Balbastre, Martini, etc.


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## moody

Hans Pfitzner 1869-1949.
Well worth listening to in general but especially for his opera "Palestrina",his violin concerto and his lieder which are excellent.


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## Geo Dude

Based on a disc of string quintets (Vivarte) and a disc of mass with winds (BIS) I think that Michael Haydn could use some more recordings.


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## handlebar

Rott is worthy IMHO. Spohr was good but I cannot remember one thematic moment in any of his works but can most of Rott's pieces.


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## Xaltotun

linz said:


> Hans Rott: Late Romantic composer
> 
> Wilhelm Furtwangler: Post-Modern composer and comdcutor


THESE GUYS!

muutama lisäkirjain kirjainminimin saavuttamiseksi


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## elgar's ghost

Humphrey Searle (1915-1982) - a composer who at the early stage of his career embraced serialism which, at the time, was probably too radical a step for him to gain general acceptance in this country where even some of the music of Britten and Tippett was perceived as being too edgy for comfort. 

I have all 5 symphonies on cpo (a great label), a cycle which seriously whetted my appetite but sadly not much else is available and at this rate nor is there likely to be. I'd especially jump at the chance to hear his Diary of a Madman opera (after Gogol) and the intriguingly-titled Zodiac Variations.


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## John Kiunke

KOZELUCH AND CLEMENTI!!! Many of their sonatas equal Haydn & Mozart's. Seriously, it's incredibly good music.


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## Pugg

John Kiunke said:


> CLEMENTI!!! Many of their sonatas equal Haydn & Mozart's. Seriously, it's incredibly good music.


Clementi is not forgotten, who / what give you that idea?


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## superhorn

The three Max Bruch symphonies are also well worth hearing . They would make a welcome change at orchestral concerns from the same old Brahms symphonies, which wonderful as they are, have been played to death . 
They may not be quite as great as the Brahms symphonies, but they are highly melodious and finely crafted works which are sadly neglected . The late Kurt Masur recorded them for Philips with the Gewandhaus orchestra of Leipzig some years ago, and James Conlon with the Gurzenich orchestra of Cologne for EMI. Both are excellent . As far as I know they are still available , and the Masur recordings can be heard on youtube. Do try them .


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## DaveM

Silly me, but it's always startling when a very old thread is resurrected without comment.


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## JamieHoldham

Jean-Baptise Krumpholz - a composer from the classical era, mostly unknown today but not during his time, tutored by Haydn himself, and a virtusuo player of the Harp who also wrote many if not some of the best harp music in the 18th-19th century.

I have a manuscript of one of his own works, his Harp Concerto in Bb Major, and will probally transcribe it to Organ or another instrument one day.

One example of his works, his Harp Concerto in F Major;


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## Metairie Road

John Kiunke

Kozeluch and Clementi are new names to me. The Classical period was such an amazingly rich time for music. There's always something new to discover. Thank you for bringing them to my attention.

The Clementi symphony was wonderful, best rendition of 'God save the King' I've heard. Did he compose that tune?

Best wishes
Metairie Road


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## Meyerbeer Smith

Fromental Halevy. Composer of La Juive, which has re-entered the repertoire. By next year, six of his 30 odd operas will have been recorded, often in cut performances with barely adequate casts and bad sound. But he was admired by Wagner and Mahler, Berlioz praised several of his works, and he was seen as the leader of the French school in his lifetime.


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## PJaye

I'm not sure how forgotten he is, but I never heard his name till bumping into his music - Evaristo Felice dall' Abaco. He lived round about the same time period as J.S Bach. Had positions in Brussels, Munich, in France and the Netherlands. I can hear the influences of Italian and German baroque in his work, and I'm sure the French and Dutch are there too, though I'm less familiar with them to be able to pick them out. I really like the range and variety of his compositions -sometimes unpredictable, sometimes very classically structured. Wikipedia mentions an indebtedness to Vivaldi. I definitely hear Vivaldi's influence, but it's just one aspect of his wide ranging style. I listen to him a lot.


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## brianvds

StlukesguildOhio said:


> Suppose we re-name the thread: "Works worth a listen by forgotten or otherwise forgettable composers"?
> 
> This would presume that all such unjustly forgotten composers had but one of two "hits". In some instances this may be true... but not always. Bruch, Stamitz, Zelenka, Caldara... many of the Baroque composers I named... all have a sizable oeuvre of impressive music.


I have yet to hear a piece by Bruch that I don't like. No, none of it is exactly Brahms or Dvorak, but he certainly wrote far more than the violin concerto he's known for.

Another addition: Mario Castelnuovo-Tedesco, nowadays mainly known for a very fine guitar concerto, but also wrote much more and all of it that I have heard so far, I liked.


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## KenOC

Names that immediately occur to me are Hummel, Raff, Sgambati, and Sculthorpe.


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## Heliogabo

I recently discovered Johann Ludwig Krebs, a baroque composer that seems enough forgotten to figure here.


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## brianvds

KenOC said:


> Names that immediately occur to me are Hummel, Raff, Sgambati, and Sculthorpe.


I have noticed that Hummel's name at least has been on the rise over the past decades. I was a teen in the 1980s when I first discovered his A minor piano concerto. At the time, recordings of his music were pretty rare. Nowadays they are far more common, and deservedly so.


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## KenOC

Yes, Hummel wrote a lot of very good music. Especially attractive if you like the later classical style. I very much like his piano trios. This recording of all of them is very good, though maybe a bit expensive right now.

https://www.amazon.com/Hummel-Compl...8&qid=1472706551&sr=1-3&keywords=hummel+trios


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## Mahlerite555

Ignaz Holzbauer.


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## Pat Fairlea

And the thread rises, Phoenix-like, to soar on high....OK. I'll get on with it.

Yes, Rubbra deserves to be far better known. Much the most creative of the less-famous British 20th century gang.

Any love out there for Roussel or Francaix?


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## Mahlerian

Pat Fairlea said:


> Any love out there for Roussel or Francaix?


I like Roussel's symphonies, but don't know much else from his output.


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## znapschatz

How about Germaine Tailleferre (1892-1983)? She was one of Les Six, and a very fine composer. I have heard only two of her works, *Ballade for Orchestra* and a flute sonata, but based on those I think she deserves at least mention with the other five, Auric, Milhaud, Poulenc, and Honneger (I know nothing of Durey.)


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## Guest

A composer that has recently come to my attention is the so-called "French Beethoven", his name being *George Onslow*.
Here's a YouTube link of his Piano Trio Opus 14 (N° 2 in E-flat) published in *1818* and Piano Trio Opus 27 (G major) published in *1824*.





And a link to an article on the composer: 
http://www.musicweb-international.com/classrev/2003/Dec03/Onslow.htm


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## Nereffid

Pat Fairlea said:


> And the thread rises, Phoenix-like, to soar on high....OK. I'll get on with it.
> 
> Yes, Rubbra deserves to be far better known. Much the most creative of the less-famous British 20th century gang.
> 
> Any love out there for Roussel or Francaix?


Francaix is ideal for people who don't take music too seriously. I went on a Francaix binge a few years ago (it was his 100th birthday back in 2012) and felt lots of cheer.


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## Machiavel

TalkingHead said:


> A composer that has recently come to my attention is the so-called "French Beethoven", his name being *George Onslow*.
> Here's a YouTube link of his Piano Trio Opus 14 (N° 2 in E-flat) published in *1818* and Piano Trio Opus 27 (G major) published in *1824*.
> 
> 
> 
> 
> 
> And a link to an article on the composer:
> http://www.musicweb-international.com/classrev/2003/Dec03/Onslow.htm


André George Louis Onslow was an Anglo-French composer. He was widely recognised as a gifted composer during his lifetime but is virtually forgotten today.

George Onslow was born in Clermont-Ferrand, the son of an English father, Edward Onslow, and a French mother; his paternal grandfather was George Onslow, 1st Earl of Onslow. As a young man he lived in London, where he studied piano with Johann Baptist Cramer and also studied composition with Dussek. His principal composition teacher was Anton Reicha with whom he studied in Paris between 1807--1808; later he spent two years studying in Vienna and was again a student of Reicha in the 1820s, when he wished to broaden his technique to write opera. He died in Clermont-Ferrand.

His 36 string quartets and 34 string quintets were, during his own lifetime and up to the end of the 19th century, held in the highest regard, particularly in Germany, Austria and England, where he was regularly placed in the front rank of composers. His work was admired by both Beethoven and Schubert, the latter modelling his own 2-cello quintet (D.956) on those of Onslow and not, as is so often claimed, on those of Boccherini. Robert Schumann, perhaps the foremost music critic during the first part of the 19th century, regarded Onslow's chamber music on a par with that of Mozart, Haydn and Beethoven. Mendelssohn was also of this opinion. Publishers such as Breitkopf & Härtel and Kistner were among many who competed to bring out his works. Such was Onslow's reputation that he was elected to succeed Luigi Cherubini as Director of the prestigious Académie des beaux-arts, based on the excellence of his chamber music and this, in an "Opera Mad France", which had little regard for chamber music. However, after the First World War, his music, along with that of so many other fine composers, fell into oblivion and up until 1984, the bicentennial of his birth, he remained virtually unknown. Onslow's writing was unique in that he was successfully able to merge the drama of the opera into the chamber music idiom perfected by the Vienna masters.

Besides his string quartets and quintets which were and remain his best known and regarded works, he wrote 10 piano trios, three piano quintets, a quintet for piano and winds, 2 sextets for winds and piano, a septet for winds and piano, a nonet for strings & winds, 6 sonatas for violin and piano, and one for cello and piano.
Beyond his chamber music, he composed four symphonies, four operas (including at least one, Le Colporteur, themes from which formed the subject of fantasies by other composers, like Friedrich Kuhlau's for flute and piano), several works for piano alone as well as five vocal works. His second symphony (D minor, opus 42) shows some commonality of style with Beethoven, particularly in the dramatic first movement, and with Schubert.

He should be standard repertoire!


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## brianvds

TalkingHead said:


> A composer that has recently come to my attention is the so-called "French Beethoven", his name being *George Onslow*.
> Here's a YouTube link of his Piano Trio Opus 14 (N° 2 in E-flat) published in *1818* and Piano Trio Opus 27 (G major) published in *1824*.
> 
> 
> 
> 
> 
> And a link to an article on the composer:
> http://www.musicweb-international.com/classrev/2003/Dec03/Onslow.htm


That's rather lovely - thanks for sharing!


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## Animal the Drummer

I'd nominate a couple of Russian composers, Lyapunov and Kalinnikov. Neither is unknown but IMO they certainly qualify as forgotten, as they're rarely discussed.


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## hpowders

Heliogabo said:


> I recently discovered Johann Ludwig Krebs, a baroque composer that seems enough forgotten to figure here.


I thought he discovered the Citric Acid cycle. Go figure.


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## Alfacharger

Heliogabo said:


> I recently discovered Johann Ludwig Krebs, a baroque composer that seems enough forgotten to figure here.


Bernard Herrmann orchestrated a Krebs fugue for organ in his score for Mysterious Island called "The Giant Bird".


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## Heliogabo

Yes, Giovanni Antonio Pandolfi is waiting to be rediscovered.


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## Reichstag aus LICHT

Heliogabo said:


> I recently discovered Johann Ludwig Krebs.


Thank God he was born in Germany. "Johnny Crabs" doesn't sound half as nice, somehow.


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## Heliogabo

Alfacharger said:


> Bernard Herrmann orchestrated a Krebs fugue for organ in his score for Mysterious Island called "The Giant Bird".


Interesting, I have to explore yet his solo organ output. I discovered Krebs via this album, which is delightful:


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## Heliogabo

Reichstag aus LICHT said:


> Thank God he was born in Germany. "Johnny Crabs" doesn't sound half as nice, somehow.


Nice name for a bluesman anyway. Even "Johnny Crabs Walker".


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## Medtnaculus

Florent Schmitt
Maurice Emmanuel
Pierre Octave-Ferroud
Marie Jaell
Leonid Sabaneyev
Frank Bridge
Abel Decaux
Alexei Stanchinsky
Anatoli Alexandrov
Janis Medins
Konstantin Eiges
Charles Koechlin
Joseph Jongen
Ernest Pingoud
Vaino Raitio
Kurt Atterberg
Sergei Bortkiewicz
Charles Griffes
Alexander Mosolov
Arthur Lourie
Samuil Feinberg
Nikolai Roslavets

The list goes on and on...


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## bioluminescentsquid

Reichstag aus LICHT said:


> Thank God he was born in Germany. "Johnny Crabs" doesn't sound half as nice, somehow.


Krebs?




His Wie schön leuchtet der Morgenstern (at 47:33, although I think the whole CD is marvelous) is absolutely brilliant.


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## Pat Fairlea

Mahlerian;v1117123 said:


> I like Roussel's symphonies, but don't know much else from his output.


His solo piano works stand up well in comparison with e.g. Poulenc


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## Aurelian

Paul (Pavel) Wranitzky (1756-1809) was well-regarded by the "Big 3" during his lifetime. The works of his I heard were nice.


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## Pat Fairlea

Nereffid said:


> Francaix is ideal for people who don't take music too seriously. I went on a Francaix binge a few years ago (it was his 100th birthday back in 2012) and felt lots of cheer.


Yes, that's interesting. Some people would take that as a criticism ("Doesn't take music too seriously..."), but I find Francaix's music, like Ibert's, can be deliberately witty and amusing without sacrificing its intelligence or dumbing down to the listener. 
The world, as Wordsworth rightly observed, "is too much with us..." and CM often inclines to reflect the more sombre and profound aspects of life. We need the occasional laugh, which is why I value composers such as Ibert and the marvellous Louis Moreau Gottschalk.


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## Animal the Drummer

Reichstag aus LICHT said:


> Thank God he was born in Germany. "Johnny Crabs" doesn't sound half as nice, somehow.


"Johnny Cancer" sounds even worse.


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## omega

I had not heard of *Franz Berwald* before a couple of weeks. Which is a shame, I think.


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## Pugg

omega said:


> I had not heard of *Franz Berwald* before a couple of weeks. Which is a shame, I think.


Why? You know now, that's the fun of this forum, learning everyday something new.


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## marshanp

Harold Truscott. His Elegy for string orchestra is a great work in the British string tradition, on a par with Britten and Tippett - yes, really.

Cecil Armstrong Gibbs. His 3rd Symphony, 'Westmorland', is a wonderful piece, evocative both of place (the Lake District) and of the great sorrow (the loss of his son in WW2) which produced it.


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## Nocture In Blue

I don't know if you can say he's forgotten, but William Lawes music is extraordinary. His music doesn't sound like anything else.


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## hpowders

William Schuman-former president of Juilliard and fine symphonist from mid-20th century New York, all but forgotten today. His Sixth Symphony is quite a fine accomplishment. One of the best of 20th century American composers, worth exploring.


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## BaroqueKing

Heres a list of Baroque composers that remain almost completely forgotten 
- Giovanni Valentini: Early Baroque Composer 
- Emanuele d´Astorga: Late Baroque Composer
- William Corbett: An English Late Baroque Composer
- Agostino Guerrieri: Mid Baroque Composer
- Giovanni Antonio Maria Turati: Early Baroque Composer


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## David Phillips

William Boyce (1711-1779) wrote eight tuneful symphonies which all fit on one CD.


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## innoverskuen

Mozart, Beethoven, Bach, Brahms, Grieg, Grieg, Grieg


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## innoverskuen

innoverskuen said:


> Mozart, Beethoven, Bach, Brahms, Grieg, Grieg, Grieg


And also that genius that wrote Für Elise


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## KenOC

Sorry, I can't think of the names of any composers that I've forgotten. Funny how that works.


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## KenOC

David Phillips said:


> William Boyce (1711-1779) wrote eight tuneful symphonies which all fit on one CD.


Everybody should have a set of these. Absolutely good-time music by "Bouncin' Bill" Boyce.


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