Three Composers You Feel To Be Unfairly Neglected

[Mirror Image]

All of them and some more. My personal favourite is Hendrik Andriessen, but composers that I often play include Pieter Hellendaal (18th c.), Johan Willem Wilms, Anton Fodor & Johannes Verhulst (19th) and more from the last century, including Alphons Diepenbrock, Jan van Gilse, Cornelis Dopper, Henriëtte Bosmans, Hans Henkemans, Oscar van Hemel, Anthon van der Horst, Lex van Delden, Jurriaan Andriessen, Hans Kox, Daan Manneke, Joep Franssens, Jacob ter Veldhuis, Joey Roukens, and a handful that I forget. 

Completely unknown, but a pleasant surprise to listen to, is composer Erik Lotichius (1929-2015), a Dutch Poulenc. I only know this cd, on offer at JPC.de for 3 euros:

Thanks for the feedback, but I wish I didn't have some kind of ambivalence about Dutch composers, but it's impossible for me to muster much enthusiasm for any of them. Truth be told, I usually stick with the French, Russians, Czechs, Hungarians, Poles, Germans/Austrians, Romanians, Latin-Americans, and the Spaniards. It seems I'm most attracted to composers from these countries.

[Christo]

Thanks for the feedback, but I wish I didn't have some kind of ambivalence about Dutch composers, but it's impossible for me to muster much enthusiasm for any of them. Truth be told, I usually stick with the French, Russians, Czechs, Hungarians, Poles, Germans/Austrians, Romanians, Latin-Americans, and the Spaniards. It seems I'm most attracted to composers from these countries.

In my mind map, they're grouped together with the Belgians and Swiss. Typical of all three music cultures is a combination of a German substructure with a French superstructure - and often when I hear a new composer I cannot determine which of these three countries I have before me.

[Mirror Image]

In my mind map, they're grouped together with the Belgians and Swiss. Typical of all three music cultures is a combination of a German substructure with a French superstructure - and often when I hear a new composer I cannot determine which of these three countries I have before me.

Of the Swiss, I do like Honegger and Frank Martin a lot. Aside from Lekeu, I don't know any of the Belgians.

[Christo]

Of the Swiss, I do like Honegger and Frank Martin a lot. Aside from Lekeu, I don't know any of the Belgians.

Frank Martin lived in the Netherlands for a long time and his music feels extremely "Dutch" for me.

[André]

Frank Martin lived in the Netherlands for a long time and his music feels extremely "Dutch" for me.

I didn't know that ! Very interesting.

[Mirror Image]

Frank Martin lived in the Netherlands for a long time and his music feels extremely "Dutch" for me.

I hear more of a French influence spiked with some of The Second Viennese School.

[vandermolen]

Rued Langgaard: He lived eclipsed by the fame of his compatriot Nielsen. Unfortunately, many of his works didn't receive the recognition they deserved at their time. I find that situation unfair, so there is much creativity in his music. He may be called old-fashioned, but it doesn't mean that his music lacks craftsmanship or development. Personally I consider the mystical Music of the Spheres and the thought-provoking Symphony No. 4 as his unquestionable masterpieces. I should also include Antikrist for that matter.

Eduard Tubin: One of the greatest symphonists from the 20th century, his music possesses all the features to think very highly of him as a composer of a significant stature. For me, Tubin is the best composer from Estonia (besides Arvo Pärt) but I don't know many people who have some idea of his style. And just a few of recording labels spread his works. It would be much more interesting if they record something by him instead of, for example, the 1000+ recording of the Beethoven symphonies. Marketing issues, yes, but come on, do we really need more recordings of works like those, when already there are many for every taste? 

Charles-Valentin Alkan: People tend to know Liszt as the supreme virtuoso pianist-composer, but Alkan may be even more fascinating. I don't feel that his contribution to the piano repertoire is not utterly recognized nowadays.

Don't know much about Alkan but totally agree on Tubin and Langgaard. I also agree that Langgaard's Symphony 4 and Music of the Spheres may be his chief claim to prosperity although I also rate Symphony 6 very highly.

[vandermolen]

Thumbs up for Orthel from me too.

[vandermolen]

Of the Swiss, I do like Honegger and Frank Martin a lot. Aside from Lekeu, I don't know any of the Belgians.

A vote for Honegger from me as well. Especially symphonies 3 - 5 and 'Joan of Arc' as well as Les Miserables and L'Idee film scores.

[Biffo]

Rued Langgaard: He lived eclipsed by the fame of his compatriot Nielsen. Unfortunately, many of his works didn't receive the recognition they deserved at their time. I find that situation unfair, so there is much creativity in his music. He may be called old-fashioned, but it doesn't mean that his music lacks craftsmanship or development. Personally I consider the mystical Music of the Spheres and the thought-provoking Symphony No. 4 as his unquestionable masterpieces. I should also include Antikrist for that matter.

.......

Charles-Valentin Alkan: People tend to know Liszt as the supreme virtuoso pianist-composer, but Alkan may be even more fascinating. I don't feel that his contribution to the piano repertoire is not utterly recognized nowadays.

To the two composers above I would add Geirr Tveitt. In the early part of his career he lived in Paris and his music reflects that to some extent. He has been compared to Bartok but I don't hear that myself. After he moved back to Norway he became more folk-influenced. His Piano Concerto No 4 Aurora Borealis is a good starting point.

[Roasted Swan]

Years ago there was a sheet music sale at UMP in London when they were selling off formerly stupidly expensive music for pence.  One piece I bought was the Capriccio by Pierre Max Dubois for violin and orchestra - absolute charmer - Ibert out of Francaix with a nod at Poulenc.  Mainly known amongst students etc for pedagogic works for wind.  As far as I know almost none (except some wind chamber music - especially the saxophone quartet) is recorded - the Capriccio I only know from my own playing of it.  His Concerto Italien for 2 pianos & orchestra on this disc gives a fair idea of his style;

[asin]B0001W8E3C[/asin]

In Europe I would say most if not ALL Latin American composers are neglected for absolutely no good reason.  Top of the list would be Camargo Guarnieri who has been well served on disc by BIS & Naxos but when did you last hear him played live this side of the Atlantic? - but instantly attractive and appealing music

[asin]B0019EI0MG[/asin]

Another very left field composer I'd love to hear more of is Vaclav Trojan.  I played in a BBC studio recording of his "Fairy Tales" for that much maligned instrument the accordion & orchestra.  A real charmer of a piece

[asin]B00D4AZXEG[/asin]

and when I was last in Prague I bought a score of his Variazioni Capricciose on Mendelssohn's "Spring Song" where each of the 10 variations is in the style of another composer from Bach via Verdi, Dvorak and Stravinsky ending with Louis Armstrong!  Another piece I only know from studying a score at home and it looks witty and intriguing

[JBS]

A counter intuitive list

Bach
Beethoven
Brahms

Actually a few more, such as Mozart, Haydn,  Schubert, Chopin...

Of course, one can't say they are neglected, but they tend to be taken for granted, often just listened to without stopping to grapple with what they were doing that made them different from their contemporaries.

[SymphonicAddict]

Let me add one more, far lesser-known composer (also in his own country), Léon Orthel (1905-1985). The only piece I'd heard in my youth was his late, then new, atmospheric, orchestral Evocazione Op. 83 (1977) and only a couple of years ago there came a release of some historic recordings of his first four symphonies - the ones under conductor Willem van Otterloo very fine BTW. The Third (1943), another war symphony, came as a shock and the Second (1940), Piccola Sinfonia, proved to be a refined master piece. The whole cycle - there are six symphonies - cry for a modern recording as does all of his orchestral work.

Since you and I share many musical tastes, Orthel looks like a promising composer for me.

[SymphonicAddict]

I love Tubin, but my biggest issue with him, and it's my own issue, is the memorability of his music. I love his music as it's unfolding in my ears, but after that, puff...it's gone. The Järvi BIS series is still the 'gold standard' (sorry, Maestro Volmer). I do have to thank Volmer, however, for bringing the complete Kraft to the public's attention as only the suite from Järvi was recorded previously. I'd like to get to know Tubin's chamber music, but there doesn't seem to be a whole lot of options available.

I beg to differ a bit. I often feel a lot memorability in his music, in works such as the Sinfonietta on Estonian Motifs, Symphonies 2, 3, 4 and 6 mostly, the Violin Concerto No. 1, the Suite on Estonian Dances, the ballet Kratt, among others. Quite agreed about the flawless performances of Järvi on BIS. They bring the music with stellar sound, accomplishment and fire.

[SymphonicAddict]

Don't know much about Alkan but totally agree on Tubin and Langgaard. I also agree that Langgaard's Symphony 4 and Music of the Spheres may be his chief claim to prosperity although I also rate Symphony 6 very highly.

Of course, I should have included the 6th! It has been a kind of obsession lately for me, now with a new recording of it.

[Mirror Image]

I beg to differ a bit. I often feel a lot memorability in his music, in works such as the Sinfonietta on Estonian Motifs, Symphonies 2, 3, 4 and 6 mostly, the Violin Concerto No. 1, the Suite on Estonian Dances, the ballet Kratt, among others. Quite agreed about the flawless performances of Järvi on BIS. They bring the music with stellar sound, accomplishment and fire.

Well, we're certainly all different and, obviously, I admire the composer very much, but I admire the music in the moment I'm hearing it. After that, I don't really remember it and I'm certainly not saying he's terrible (he's among my favorites) because of this lack of memorability, but there are many works from say Martinů or Prokofiev that can become one blur to me, but I do love their music dearly and this doesn't even speak of the quality of the music itself nor my own affection for it. Again, it's a failing of my own listening and no one else's.

[JBS]

I have to admit that Tubin is one of several Scandinavian composers many people here like, but none of whom have clicked for me.  Sallinen is another one. 

[Mirror Image]

I have to admit that Tubin is one of several Scandinavian composers many people here like, but none of whom have clicked for me.  Sallinen is another one.

I, too, struggle with Sallinen. Aside from Sibelius and Nielsen (and some Langgaard), there really isn't a lot of Nordic music I have an affinity for.

[JBS]

The only true successes there for me are Atterberg and Holmboe.  To a lesser Magnus Lindberg has connected with me on a hit or miss.  The rest I've tried don't really work, or just haven't stayed in memory (Koppel is a good example here.)  It's gotten to the point that I have shied away from some composers like Pettersen and Laanggard whom a lot of people here like.  I have Petersen-Berger is the listening pile, but he of course is from the c 1900 crowd.

[Ken B]

Years ago there was a sheet music sale at UMP in London when they were selling off formerly stupidly expensive music for pence.  One piece I bought was the Capriccio by Pierre Max Dubois for violin and orchestra - absolute charmer - Ibert out of Francaix with a nod at Poulenc.  Mainly known amongst students etc for pedagogic works for wind.  As far as I know almost none (except some wind chamber music - especially the saxophone quartet) is recorded - the Capriccio I only know from my own playing of it.  His Concerto Italien for 2 pianos & orchestra on this disc gives a fair idea of his style;

[asin]B0001W8E3C[/asin]

In Europe I would say most if not ALL Latin American composers are neglected for absolutely no good reason.  Top of the list would be Camargo Guarnieri who has been well served on disc by BIS & Naxos but when did you last hear him played live this side of the Atlantic? - but instantly attractive and appealing music

[asin]B0019EI0MG[/asin]

Another very left field composer I'd love to hear more of is Vaclav Trojan.  I played in a BBC studio recording of his "Fairy Tales" for that much maligned instrument the accordion & orchestra.  A real charmer of a piece

[asin]B00D4AZXEG[/asin]

and when I was last in Prague I bought a score of his Variazioni Capricciose on Mendelssohn's "Spring Song" where each of the 10 variations is in the style of another composer from Bach via Verdi, Dvorak and Stravinsky ending with Louis Armstrong!  Another piece I only know from studying a score at home and it looks witty and intriguing

We just discussed Camargo Mozart Guarnieri on the Quix thread! Yes, likable music. Carlos Gustavino wrote very appealing piano music that I have.