Lesser-known composers you're inordinately fond of.

[Florestan]

And as a fan of the baroque, there's plenty.

Yep, especially Early Baroque. Merula, Falconiero, Cabezon, Ortiz...

I'll start with a particular fave; Cavalli.

Not very familiar with him, only heard some operatic arias. Any favorite recordings you can safely recommend?

[The new erato]

This one:

[asin]B004WP1V98[/asin]

Shop around for prices.

And read more about it here:

www.newolde.com

[Florestan]

Thanks.

[Luke]

To start (and not including composers like Brian about whom others will speak)...

Without doubt, Othmar Schoeck, the last great master of the Lied, who went on and on penning these extraordinarily penetrating masterpieces, unpretentious but overwhelming, and with a sound aand a harmonic world like no other composer,* wistful, mournful chromaticisms, moments of sublime radiance, ostinati that stop the heart, total focus at all moments. Everyone on GMG should own a copy of the CPO disc of the Elegy, and the ECM disc of the Nocturne. It ought to be a rule, in fact... 

John Ireland, who quietly became the greatest British piano specialist, a cross-channel counterpart in many ways to Ravel (not an equal, I could never say that, but certainly comparable). Like Schoeck, and like Ravel, he has an instantly recognisable sound - in his case, Ravelian precision and sensuousness is married to more troubled or grittily scratchy chromaticism, and certain melodic and rhythmic tropes are often to the fore. He is a minor master, but in his domain he is peerless. His finest works are not necessarily the best known - look in the chamber music (the cello sonata and the clarinet sonata are the best works here, I think) and of course in the piano music, where the Sonatina, Sarnia may top the pile, but works like the Sonata, Greenways, London Pieces and (hardly known at all) the two Ballades (one is the Ballad of London Nights) are really up there with them. Orchestrally the Piano Concerto - again, a work comparable with Ravel (his Concerto in G) - and the piano/orchestra Legend are for my money the best pieces. Get the Parkin recording

Suk is yet another figure who has a peronal sound like no other. To me the quintessential Suk sound is luminous, glowing triads hauntingly scored and surrounded by more hostile elements, some seductive, some violent. The opening of Pohadka Leta (A Summer's Tale) is typical, and for me this is his finest orchestral work - huge, but smaller than Asrael or Ripening or Epilogue, and with more sweetness, colour and variety than those unremittingly serious (though wonderful) works. I've often advocated his piano suite About Mother here - it is Asrael writ small, the thunderous tragedy in memory of his wife shrunk to an intimate confessional to his son, sharing their memories of her. A supremely touching piece.

There are many more about whom I feel equally strongly, and when I have time I'll get back to this thread. It seems an obvious thread title, but actually it's a very thought-provoking one. 


*with the exception, in my experience, of the closing moments of Rudi Stephan's Liebeszauber. The exception which proves the rule, for me - this is the only piece which has ever made me think 'that sounds a bit like Schoeck', although as Stephan was only a year younger than Schoeck and died young, in WWI, there's no hint of imitation...I'm rambling.

[The new erato]

+1 on Schoeck. His operas deserves a mention (I've got both Venus and Penthesilea), his concertoes are more than worthy; but above all I value the song cycles with FiDi on Claves.

[Madiel]

John Ireland, who quietly became the greatest British piano specialist, a cross-channel counterpart in many ways to Ravel (not an equal, I could never say that, but certainly comparable). Like Schoeck, and like Ravel, he has an instantly recognisable sound - in his case, Ravelian precision and sensuousness is married to more troubled or grittily scratchy chromaticism, and certain melodic and rhythmic tropes are often to the fore. He is a minor master, but in his domain he is peerless. His finest works are not necessarily the best known - look in the chamber music (the cello sonata and the clarinet sonata are the best works here, I think) and of course in the piano music, where the Sonatina, Sarnia may top the pile, but works like the Sonata, Greenways, London Pieces and (hardly known at all) the two Ballades (one is the Ballad of London Nights) are really up there with them. Orchestrally the Piano Concerto - again, a work comparable with Ravel (his Concerto in G) - and the piano/orchestra Legend are for my money the best pieces. Get the Parkin recording

I really should investigate Ireland at some point.  The main reason I know him is simply because he wrote one of the finest hymns you'll find in any hymnbook, Love Unknown.  Trust me, when as a church pianist you see page after page of unexciting, square melodies, that one jumps out as something extraordinary special, beautifully fitted to the words in a way worthy of any great Lied or Melodie.

[Mirror Image]

Suk is yet another figure who has a peronal sound like no other. To me the quintessential Suk sound is luminous, glowing triads hauntingly scored and surrounded by more hostile elements, some seductive, some violent. The opening of Pohadka Leta (A Summer's Tale) is typical, and for me this is his finest orchestral work - huge, but smaller than Asrael or Ripening or Epilogue, and with more sweetness, colour and variety than those unremittingly serious (though wonderful) works. I've often advocated his piano suite About Mother here - it is Asrael writ small, the thunderous tragedy in memory of his wife shrunk to an intimate confessional to his son, sharing their memories of her. A supremely touching piece.

I endorse this message. Well said, Luke. I think Suk is so underrated and such an immensely gifted composer. The man, quite simply, poured his entire being into his music. You can hear especially in the works after the death of Dvorak and the premature death of his wife. Interestingly enough, he was working on Asrael as both Dvorak and his own wife passed on. The first and second movements were dedicated to his mentor and father-in-law, Dvorak, while the third and final movements were dedicated to memory of his wife. I agree, though, that A Summer's Tale is probably his finest composition, though Fairy Tale, Epilogue, and The Ripening hold special places in my heart. I'm still not crazy for Asrael yet, although it does have many fine moments.

[Luke]

I really should investigate Ireland at some point.  The main reason I know him is simply because he wrote one of the finest hymns you'll find in any hymnbook, Love Unknown.  Trust me, when as a church pianist you see page after page of unexciting, square melodies, that one jumps out as something extraordinary special, beautifully fitted to the words in a way worthy of any great Lied or Melodie.

I've been in precisely that position - I play in church services every week too, as part of my job at school, and I know exactly what you mean. There are just a few hymns sprinkled through the book which are just sublime compositions and, guess what - they tend to be the ones written by 'the greats' - Vaughan Williams, Holst, Parry,  and indeed this one by Ireland that you mention comes right at the top of the pile IMO.

It's not exactly representative of Ireland's style, except inasmuch as it exhibits superb shaping and exquisite harmonic sensitivity. If you respond to these elements, you will find a lt to love in Ireland's concert music

[Madiel]

Well, I'd say that's EXACTLY what I respond to in the hymn, so I'm still interested!

[Lilas Pastia]

I'm glad people are fired up to discuss and advocate their favourite neglected composers  . BTW one of the music blogs I frequent has a password when you want to download one of its yummy offerings: 'neglectedmusic'   

In the vein of my initial intent, I'm glad to welcome the suggestions about Josef Suk !

As a lad I was quote fond of astronomy. One of the basic tenets of star gazing is that what you see is not what you get. Well, sort of. The real idea is to differentiate between 'apparent magnitude' and 'real magnitude'. The idea is that if all stars were to be aligned at the same distance from the earth, their apparent magnitude would be transformed ito real magnitude. IOW some stars appear bright because they are close to Earth, whereas other much bigger stars appear less bright because they are far away from us.

Another, quite interesting concept is that of star temperature. The lower the température of a star, the more likely it is that its size will be much bigger than that of another smaller celestial body. Hence the terms 'red giant' and 'white dwarf'. If such stars were to be seen at equal distances from us, the 'white dwarf' would outshine thousandfolds the 'red giant' (in reality a dying star that is expanding as it it cools off and appears very large to the eye - before it contracts as it exhausts its fuel and collapses). End of lesson .

Since there is no way to obtain such a measure as 'real magnitude' when it comes to the arts, one can only rely on one's own sensibility and objectivity. A tall order both for the 'sensibility' (mine is better than yours) and for the objectivity aspects... That's why I believe that Suk, Biber, alfven and Stenhammar will live and thrive . Of a smaller but still appreciable magnitude - to my eyes are Glazounov and d'Indy.  Of Ireland and Schoeck I know nothing but their names, so listening suggestions are welcome! 

Once again, it's a question of what one finds in a musical language that connects directly with one's inner sensibility and artistic fibre. The popular saying goes, 'whatever floats your boat'. When it comes to the arts and civilization, one has to factor in the staying power.

[cjvinthechair]

I'm glad people are fired up to discuss and advocate their favourite neglected composers  . BTW one of the music blogs I frequent has a password when you want to download one of its yummy offerings: 'neglectedmusic'   

Don't suppose you'd be able to let us know the whereabouts of this blog - much appreciated if so !

[Mirror Image]

I'm starting to really warm to Scriabin now, thus I'm becoming quite fond of his music. I find that his piano music gets praised more than his orchestral music and I think this is a shame. I hardly ever see Scriabin on concert programs. Is his music losing favor in classical circles? Anyway, I love all of his orchestral music. I would say Symphony No. 3 "The Divine Poem" is probably my absolute favorite Scriabin work. The first movement alone is one of his most glorious creations.

[madaboutmahler]

I'm starting to really warm to Scriabin now, thus I'm becoming quite fond of his music. I find that his piano music gets praised more than his orchestral music and I think this is a shame. I hardly ever see Scriabin on concert programs. Is his music losing favor in classical circles? Anyway, I love all of his orchestral music. I would say Symphony No. 3 "The Divine Poem" is probably my absolute favorite Scriabin work. The first movement alone is one of his most glorious creations.

I am a massive Scriabin fan too, John. I agree, his 3rd symphony is absolutely incredible, a work I love very much. The Poem of Ectasy is such an amazing piece too, my favourite of his along with the 3rd symphony.

[Mirror Image]

I am a massive Scriabin fan too, John. I agree, his 3rd symphony is absolutely incredible, a work I love very much. The Poem of Ecstasy is such an amazing piece too, my favourite of his along with the 3rd symphony.

Yes, The Poem of Ecstasy is a fine work, Daniel. I need to revisit his Piano Concerto at some point. Prometheus is also a great work. I even like his Symphony No. 1. All of his orchestral works are worth hearing.

[Mirror Image]

So this thread is not about such composers. Here's my take on the real thing:

Frederick Delius is relatively well-known but most often than not is not among any one's favourite composers.

Fred Delius is da man ! I never tire of listening to his music. It does not clamor for attention when I browse my shelves, I never have a burning desire to hear the latest Last Cuckoo, but I always melt and, to speak like Harry I feel my soul is elevated to a higher plane where beauty reigns and nothing ugly is to be heard or seen. To paraphrase the title of one of his best known compositions, when I listen to his music I walk to the Paradise Garden.

BTW the latter piece is an orchestral interlude from his opera, a Village Romeo and Juliet, one of the most ecstatically beautiful works I've heard. The only piece of his I haven't fallen in love is A Mass of Life. Listening to the old Beecham recording doesn't flatter the piece one bit. I'm badly in need of a newer recording.

The hard part with Delius is that most discs of his music will duplicate part of another one. Of the 16 1/2 discs I own, only that Sony Mass of Life is not duplicated elsewhere. I don't mind one bit. I love everything I have.

I agree with everything you wrote about Delius. He was a composer I found completely by accident. I remember I was looking for Delibes on Google one night and you know how sometimes if you misspell something Google would ask you "Did you mean _____?" They suggested Delius to me and, me being the curious person I am, I started researching Delius instead of Delibes. This is where my curiosity paid I think. He's one of my absolute favorite composers and I don't think there's anything written by him that dislike. I do have some problems with A Mass of Life, but it contains lovely music. I loved the three operas I heard: A Village Romeo & Juilet, Fennimore and Gerda, and Koanga (awesome opera!). I love his orchestral music from his concerti to the tone poems. Sea Drift is gorgeous as are Songs of Sunrise, Songs of Sunset, Requiem, Idyll, etc. I have loved this composer's music from the very first listen. I believe the first work I heard was In A Summer Garden and this completely won me over.

[vandermolen]

Honegger.

[CriticalI]

Honegger.

I love his symphonies but found his David disappointing.

[Florestan]

Wilhelm Stenhammar & Ernő von Dohnányi.

[Mirror Image]

Honegger.

Excellent choice. One of my favorites for sure.

[Carolus]

Sergei Taneyev
Otar Taktakishvili
Leo Weiner
Alf Hurum
Karl Goldmark
Arkady Fillipenko
Alberic Magnard
Joseph-Guy Roparz
Vieuxtemps
Hubay
Federico Elizalde
Antonio Bazzini
.....