tracotel new to me, looks interesting, link to the second one goldie says it's dead

Have enjoyed the symphony and piano concerto uploads, I already have most of them but the rare new name is great to find. Thanks

Responding to my own ears and heart rather than to his unfortunate politics, I too find Pfitzner's music beautiful, my favorite being his slightly wonky piano concerto! I also like "von Deutscher Seele"

I appreciate the link from Toby, am reading the dissertation, (had to take a detour and read Gogol's The Overcoat). Anyway while I read I am listening to more of Ustvolskaya's work, the three Compositions and the Duet for cello and piano I like a lot as well. Plan on the piano sonatas next. I never really have listened to enough chamber music, so guess this is good as any place to start though it as about as far off the beaten path as it can be..

I have recently listened to all five of Ustvolskaya's symphonies. I long ago fell in love with her early suite 'Lights in the Steppe' and 1st piano concerto, which were more in line with the Soviet reaction to the experimental Russian composers who composed in the 20s and 30s accused of 'formalism'. (Google/ Wiki hack: In art history, formalism is the study of art by analyzing and comparing form and style. Its discussion also includes the way objects are made and their purely visual or material aspects. In painting, formalism emphasizes compositional elements such as color, line, shape, texture, and other perceptual aspects rather than content, meaning, or the historical and social context. At its extreme, formalism in art history posits that everything necessary to comprehending a work of art is contained within the work of art. The context of the work, including the reason for its creation, the historical background, and the life of the artist, that is, its conceptual aspect is considered to be external to the artistic medium itself, and therefore of secondary importance.) Ustvolskaya essentially disowned her early works that more or less toed the Soviet line, but was always trying to push the boundaries and as she continued writing she strove to express her own concept of spirituality and that is what characterizes her symphonies and later works. She maintained she was not 'religious' so much as destined to reveal a broader and more encompassing spirituality with her music. She was slow and meticulous in her composing and destroyed many works that she felt didn't reflect her spiritual being as a musical communicator.
I must be honest that her later music is a bit of a hard go, in fact, some of the vocal parts are downright ugly to my ears, but listening to all of the symphonies in sequence actually left me feeling enriched somehow. I know that may sound kooky or too touchy feely to true students of music, but heck, touchy-feely shivers-up-my-spine is my brand of music appreciation. It is interesting to me to try out almost any art music even if not within my comfort zone of late classical, romantic and 20th century mostly tonal music and I was happy to find I can open up to some of the less conventional musical byways. 
Probably if anyone knows of Ustvolskaya they have heard of the homemade boxes that were played by smacking them with something like a hammer, so a kind of fun story is that she had box after box constructed trying to find the sound she was going for and finally the carpenter made one out of particle board and that satisfied her and the sound of it strangely satisfied me, too!
Her life story with some comments by people who knew her is on a website http://ustvolskaya.org/eng/. Apparently the story that Shostakovich was her teacher was not true and it infuriated her when people tried to give him credit as an influencer on her musical development, the commentators on the website seem eager to expose Dmitri's 'clay feet'.
I'm almost done--I was fascinated also by the story about a clock in her apartment that had stopped at 1230 some years back and was never repaired I think because she felt that portended the time of her death, then she actually died at 1300 and the clock reset itself to 1300.
Oh, well, hope this might be of interest to at least one or two of you and I wonder how her music touches (or repels) some of you guys.

https://www.mediafire.com/folder/dubesavh1tfxb/Mathilde_Kralik
I  think someone on here was interested in the concert called Bruckner's Students and I barely managed to catch it on Orchestra on Demand last night and it has already been removed. These are the pieces by Mathilde Kralik, vn cto from 1930s, symphony revision in the 40s of a piece she wrote in 1904

I find composers' birthdays infinitely more interesting than short wave radio specifications, just sayin'.

As so many things have become available compared to what I could access in the beginning of my classical music addiction in the 70s I have realized that I have neglected some of my first loves. I have been listening to Martinu, Dvorak and Shostakovich and am so delighted to hear my music "roots" and, not to be too maudlin, to experience the emotions and excitement of the days of discovery. There is so much to deal with now, but through it all a good listen to Dmitri's 2nd piano concerto is amazing therapy. Now, more! I see a couple people before me have been drawn to the Czech/Slovak masters, and Janacek is on my list as well.

I can imagine it, I have suffered from music overdose for many years, oh, when will it stop? Never, I think.

I am listening to Berlioz' Requiem, in particular the Sanctus. This is my favorite version with Charles Munch and the sublime tenor Leopold Simoneau. Though not particularly religious nor death-obsessed, I love requiems because it seems they are some of the high points of their composers output. I also love Cherubini, Verdi and the German Requiem by Brahms, Faure and Mariana Bottini and many more. The flute above the tenor in Berlioz is so beautiful as to be almost unearthly and I wonder when they take a breath. So, I guess, heathen or not I am responding to music in which the composers are trying to express what is "beyond" and it is very uplifting. Sorry I don't have a musicological discourse to offer, my inner feelings being soothed and gentled for the moment are enough for me.

I am listening to Berlioz' Requiem, in particular the Sanctus. This is my favorite version with Charles Munch and the sublime tenor Leopold Simoneau. Though not particularly religious nor death-obsessed, I love requiems because it seems they are some of the high points of their composers output. I also love Cherubini, Verdi and the German Requiem by Brahms, Faure and Mariana Bottini and many more. The flute above the tenor in Berlioz is so beautiful as to be almost unearthly and I wonder when they take a breath. So, I guess, heathen or not I am responding to music in which the composers are trying to express what is "beyond" and it is very uplifting. Sorry I don't have a musicological discourse to offer, my inner feelings being soothed and gentled for the moment are enough for me.

When I find a new piece of music that I find beautiful and know I will want to hear it again and again it seems perhaps others might enjoy it as well. Chris Williams (Australia), Canticum Novi Mundi, concerto for cor anglais and orch, Dina Woods, cor anglais, Tasmanian SO, Elena Schwartz (World Premiere 26 March 2021)


https://www.mediafire.com/folder/3ymbqnhe4c2oc/chris_williams

Piano music of Helene de Montgeroult, and enjoying it a lot

Salieri Requiem, no barn burner but nice

digging through archives on Latvian radio https://klasika.lsm.lv/lv/lr/arhivs/?curr_year=2019, Longins Apkalns Symphony No. 3, sublime sounds, Maksis Goldins chamber concerto, et al, composers from each country seem to be sharing their unique way to breathe. Also Taneyev Sym No. 2, last movement makes me jump up and direct!!!