Another German "too late"-romantic is Hans Pfitzner (who was such a curmudgeon that he fell out with the Nazis despite being a nationalist and antisemite). Probably his most famous work is the opera "Palestrina".
There is also a haunting large scale cantata "Von deutscher Seele", a few more operas as well as concertos, two? symphonies and chamber music. I am not familiar enough to give recommendations, though. cpo has most of the orchestral and chamber music and there are several prominent recordings of "Palestrina", one with Schreier on Berlin and one on DG (probably oop). BUt overall Pfitzner's music is not well served on disc because hardly anyone cares about it except in Germany and Austria and even here not many.
's music has the uncanny ability to attract the ire of most defenders of the avant-garde (although, for once at least, Pierre Boulez
). Charles Rosen
made this witty remark (in print, as a footnote to his 1998 paper Who's afraid of the Avant-Garde
, and also in a speach held at The City University of New York, available on YouTube
--the underlining is mine):
"Conspiracy theories are generally absurd. Some years ago a critic in The New York Times
wrote that there was a conspiracy to prevent the music of Hans Pfitzner from being perfomed. I remember wondering how one could join such a splendid conspiracy
. Of course, the simple truth, then as now, is that of the small number of people who were acquainted with the music of Pfitzner, many of them did not care for it."
As for Von Deutscher Seele
, I'm afraid I don't know the work, but do recall Adorno
(who actually admired the poet Eichendorff
, whose poems are set in the cantata) having written some very scathing comments about the piece. Of course, if you wish to explore late romanticism, Adorno should most certainly not
be your guide
. I should look up the Keilberth
recording of this piece... even if the last time I listened to Pfitzner's Piano concerto
I found it indescribably ugly Franz Schmidt
, as opposed to Pfitzner , did garner the respect of many of his colleagues who had entirely opposite aesthetic views (Ernst Krenek
, for instance). Apart from the symphonies, his massive oratorio Das Buch mit sieben Siegeln
is as post-romantic as it gets, and is actually very impressive.