Which unsungs are on their way to becoming 'sung' - and vice versa?

[semloh]

In Australia, the ascendant composers have been ones who, although mainstream sung composers, have been overshadowed here by Mozart, Brahms, Beethoven, et al., and only in the last five years or so have begun to be accorded the status they may enjoy in other countries. I am thinking of Elgar, Vaughan Williams, and Britten, long neglected but increasingly popular. I don't think any truly unsung composers are on the ascendant here, and the winner is probably Mahler - who was virtually unknown among my new Australian friends 20 years ago! 

[Alan Howe]

The winners here over the past 40 years are definitely Bruckner and Mahler.

[alberto]

I would propose, albeit at an inferior quantity of performances,  another "winner" over the past 40 years: Leos Janacek (born before Mahler, and I would say decidedly romantic).
Earlier he was certainly known, but surely underperformed.
Maybe starting points were the critical versions oh his main operas and the recordings by Mackerras. Since several years his main operas (nothwistanding the difficulties connected with the language) have entered the repertoire and have been staged quite often.
Cesar Franck: I am not convinced the fortunes of his Symphony are so fading (I have attended to several performances also in the last ten years). And his Violin Sonata (plus the Cello version) could compete for the most performed chamber work.
As for Berlioz Colin Davis recordings of the '60 weren't a starting point of knowledge for a composer whose fortunes always seemed to rely on the Symphonie Fantastique (plus Harold en Italie, Les nuits d'etè and some overtures)?.
And anyway the Symphonie Fantastique could compete for the most performed symphony in the whole reportoire.

[eschiss1]

Re MacDowell: point taken.  The first concerto's first movement (only, alas) is being played November 10 2012 (Farmington Valley Symphony Orchestra, Ethan Wu, piano) but the 2nd concerto as usual is having relatively more performances, it's true. (Even the American Symphony- in 1997 I think, though their archives are confusingly badly linked here...- has played the 2nd but not the 1st?...)

[Alan Howe]

I agree that Berlioz's fortunes have taken a massive leap forward in the past 40-50 years and that Davis has certainly been one of the main catalysts here - as Mackerras was with Janacek over the same period. I suppose my only observation would be that, being in my late fifties myself, I can't really remember the situation prior to that.
Following the same sort of chain of cause and effect, the question might therefore be: which conductors of today are currently responsible for major re-evaluations of lesser-known composers? And, if it is conductors who can make such a big difference, whom might we target in future and with which composers?

[eschiss1]

Maybe Libor Pesek among others have tried to do so with Josef Suk's orchestral works- though as with other well-known examples it's not a case of a single conductor bringing music entirely out of oblivion, but something more nuanced. Still... (as to Suk- who you did already mention, sorry... - I do think his Fantastic Scherzo and some other works have grown in recordings and performances lately- hrm. Let's see. Fantastic Scherzo, Houston, this coming November... Serenade for strings (admittedly one of his more popular works anyway), Thame, UK, October 2012... some chamber works too- will look for more later...

[Amphissa]

The Little Orchestra Society in NY played a very long list of Victor Herbert works in concert during the 2010 season. I can't remember what other orchestras pl;ayed Herbert works, but suspect that the LOS accounted for most of the performances. Which is why I'm not anticipating a sustained increase in performances.

You can find the cumulative stats in the summary report and the list of works performed by composer in the League of American Orchestras Repertoire Reports for the 2009/2010 season.

[Alan Howe]

...following on from my earlier question, then, we might want to ask which composers (not which single works) ought to be on their way to becoming sung by virtue of the overall quality of their output?
Mark would no doubt say Raff. And I would agree, although he wouldn't be my own personal number 1 (which would be Draeseke). So, who would forum members suggest - based on consistent quality of output? After all, those who contribute to this forum are likely to have a pretty good feel for the composers who deserve the chance to make the leap to wider recognition...

Note: please bear in mind the revised remit of UC...

[alberto]

Composers who, albeit fairly or even well represented on record, should IMO be actually performed/more performed:
-Berwald
-Magnard
-d'Indy
-Martucci
-Parry
Conductors effective advocates of unsung : by far Neeme Jarvi appears to me n.1 (mostly on record).
In some cases one mediatic (and very good) conductor has dedicated his efforts also in the concert halls   to a single unsung composer; I think of Muti with Martucci (whom he has  often conducted in concert).     

[eschiss1]

Is consistency sufficient? I adore (not meant to be damning with faint praise, truly) Rheinberger's music, especially his chamber works but other works as I hear them too, and "consistency" is a word that keeps coming to mind as I hear more of them- often with Robert Fuchs too; I am sure I will hear certain qualities I want to hear in a piece. For a composer to break into the repertoire in a sustained way I think more may be required, though- at least a few pieces with "hooks" of one kind or another (or which are, to sound less cynical, exceptionally good in at least one movement!...), or a biography with the same.   Beethoven and Brahms each had their septet and German Requiem during their lifetimes and similar hits after, if I am making any sense- though actually I may not be addressing (or understanding) the point.

[Alan Howe]

That's a very fair observation, Eric. Perhaps I should have said "consistently high quality of output - with certain compositions attracting debate about their possible status as masterpieces worthy of admission to the repertoire".

I'd say that there has been debate about the status of, say, Raff 5 and Draeseke 3 (and I take it that there is general agreement about the consistently high quality of the outputs of both composers). I would certainly agree that d'Indy fits (his 2nd Symphony is surely a masterpiece), as does Magnard. Martucci is a composer I personally love - and Muti is evidently convinced enough to perform him (though not the symphonies, I think) - but I'm not absolutely sure about his stature overall. Parry would surely qualify, (as would Stanford - PC2?), and Berwald is also a shoe-in.

[eschiss1]

Not convinced every composer's symphonies are their best works anyhow. Certainly not before Beethoven (Almost all of Mozart's piano concerti are more consistent and better than all but his last 4 symphonies, and equal to those; irrelevant here, though...), and true of many composers after. Martucci's 2nd piano concerto, which Muti has conducted in a number of venues with Oppitz (I have the Bayer orchestra recording -- not a commercial release (yet?)), may be better than either of his 2 (very good) symphonies (they do well enough by it, in my opinion ). (I should try to get to hear Toscanini in both his 2nd symphony and his 2nd piano concerto, though...)

[Alan Howe]

Again, you make very good points, Eric. Thank you. My only observation would be that the best of Martucci is surely as much in his 2nd Symphony as in his PC2.
I've often thought of getting hold of Toscanini in Martucci, but have been put off by the ancient recorded sound. Perhaps I ought to explore his recordings; after all, Toscanini in Martucci ought to be quite a prospect, no?

[Alan Howe]

I should have added that, for an unsung composer to become sung, there must be something distinctive about his/her music.

[thalbergmad]

My only observation would be that the best of Martucci is surely as much in his 2nd Symphony as in his PC2.

The art of transcription was not lost on Martucci either. An internet buddy of mine who is a most capable amateur has played Martucci's transcription of Verdi's La forza del destino and posted on you tube.

http://www.youtube.com/watch?v=0H_dXnbZoCA

It is that good, one could almost mistake it for Thalberg.

A huge amount of solo pieces awaits premiers as well.

Thal