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[late-romantic tradition]

Yes I have to be more specific in what i mean by 'cinematic'.
For me it means, that the Symphony has a rich orchestration and strong thematic material and is melody driven. So yes i manly thought of film music developed from late-romantic tradition. Examples of up-to-date film music i had in mind, were something like Shores 'Lord of the Rings' or  the more romantic scores of John Williams (like Jurassic Park).

Yes I know Griegs Symphony. But it is a rather early piece ( I think he was 20 or so when he wrote it) and I think that Halvorsen is a musical successor of Grieg.

I like the concerto by Künneke very much, too. Especially the slow movement left a deep impression on me. But i'm not satisfied with the Wirtz recording. IMO Wirtz does not live up with the concerto and lacks clearity in her playing. However I'm happy that there IS a recording! I have a two-piano reduction of the concerto from 1935. It was published by Verlag Richard Birnbach, Berlin. But I don't know were to find the orchestral score.
Hopefully this great concerto will be included in the Hyperion series sometime... 

Hello all,
I'm new in this forum and open this topic since I'm interested in discovering music new to me. I am a big fan of obscure symphonies with strong melodies, interesting harmonies and astounding orchestration (I especially like extensive use of percussion); sounding like film music, but being formally more complex than film music.
So I'm interested in your opinion, what are your favourite symphonies sounding like a score for a film, but are examples for mastery of the musical form.


Here are IMO 'cinematic' symphonies, I like very much:

Atterberg 1-9 (esp. 3,5,6,7):
   For me the greatest cycle of Symphonies in the 20th century. Maybe not so    much innovation, but throughout perfection.

Bendix 1,3:
   A little conservative, but innovative in form and with strong orchestration and very memorable melodies.

Korngold:
   One of the greatest symphonies of the 20th century (especially the inner movements). Although complex and partly very dissonant, it gives a very satisfying listening experience.

Enescu 1-5, Study Symphonies 1-4 (I have not heard the 2nd and 3rd yet, but expect them to be of same kind):
   One of the great symphonists, but today neglected. The study symphonies are the work of a teenager, but are very good orchestrated already and throughout full of memorable material. The three symphonies with Opus number are more advanced. But although partly very complex (2nd Symphony) they are very accessible, or sound like a score to an imaginary film (1st Symphony).

Braga-Santos 1-4:
   For me Braga-Santos was a great discovery. The hymn at the end of the 4th Symphony is the most effective ending of a symphony i've ever heard. All Symphonies 1-4 contain memorable material, have an interesting rhythmical drive and are innovative in their use of orchestra.

Copland 3:
   Copland has very unique orchestral tone and the music of the 3rd symphony is full of beautiful melodies embedded in interesting dissonances.

Klami 1,2:
   Another major discovery for me. These to epic Symphonies are something like a Nordic Shostakovich and belong to my favourites.

Mahler 1,2:
   I'm still not totally stuck into the world of Mahler. I really like his orchestration (maybe the greatest master of orchestra sound of all time), but his musical content often bores me, so the only to symphonies by Mahler i frequently listen to are the 1st and 2nd.

Magnard 4:
   Magnard was a great discovery for me too. His sound is not really comparable with any other composer I know. I like all 4 symphonies of him very much especially for their medieval tone, but I think only the 4th is 'cinematic'.

Martinu 1-6 (esp. 1,4):
   One of the great symphonists of the 20th century and in his unique style non-competitive. His orchestration especially the prominent role of the piano create very interesting atmosphere. IMO he is especially a master of the scherzo.

Nielsen 2,3,4:
   First I was not a big fan of Nielsen, but now i got into his music. I still does not like his 5th and 6th, but especially the 3rd and 4th (the timpani duel is one of the greatest moments of his symphonic writing).

Rachmaninoff 1-3:
   Of course one of the greatest late romantic composers, but his symphonies are often underrated. I think he wrote the greatest Russian symphonies beside Shostakovich.

Peterson-Berger 1-5 (esp. 3):
   One of the three Swedish late romantic symphonists of the 1st generation (beside Alfven and Stenhammar). Of all three I like his symphonies most, being more accessible and Nordic than Alfven and more innovative than Stenhammar.

Rangström 1-4 (esp. 2):
   Beside Atterberg IMO the 2nd symphony by Rangström is the greatest Swedish symphony. I think his other symphonies are of much lower quality but still interesting.

Hurum:
   If you don't know it you should buy this disk. The by French impressionism influenced Norwegian composer created a masterpiece in his symphony. Very good orchestration and a lot of memorable themes.

Halvorsen 1-3 (esp 2,3):
   I think Halvorsen wrote the symphonies Grieg didn't. Partly very conservative but throughout with rich orchestration and strong melodies.

Shostakovich 5,7,8,11,12:
   Of course one of the greatest Symphonists of all time. I like the listed symphonies most and think that especially 5, 11 and 12 are scores to imaginary films.

Respighi 'Sinfonia drammatica', 'Suite Sinfonia'
   
Karlowicz 'Rebirth Symphony'
   A great work, which is deeply romantic. Although it is very long-breathed in some parts I like it, especially the epic conclusion and the slow movement.

It would be very interesting to read, which comparable symphonies do you know and what are in your opinion the greatest (unheard) 20th century symphonies, sounding like film music.