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The score of this Symphonie / Suite d'orchestre has been published, or should soon be, under the auspices of Palazzetto Bru-Zane:
https://www.baerenreiter.com/fileadmin/ecs/BA9467-01/pdf/9790006544561_Innenansicht.pdf

Well, I have listened to part of the piece and it definitely sounds much more like Romantic-era music than post-WWII... However, this may be a subjective opinion 

Those who shall not be sleeping at 11pm ART (4am CET) may want to listen to the Symphony in A (1946) by Floro Ugarte (1884-1975), on Radio Nacional Clásica:
http://www.radionacional.com.ar/vivo/2-clasica-967.html
The Orquesta Sinfónica Nacional shall be conducted by Jorge Fontenla.
Since I often have trouble loading programs from that website, if others feel like recording and uploading it here, please feel welcome to do so! According to Mike Herman's discography, there has been no commercial recording of this work so far, although it is regularly mentioned in surveys of Argentinian classical music.

[Jean Louis Martinet : Symphonie en hommage à Jean Philippe Rameau (création)]

Jean Louis Martinet : Symphonie en hommage à Jean Philippe Rameau (création)
[...]
Note:  I've haven't been able to find much about Martinent in English, and what little I did was not able to shed much light on this symphony-- I found a French website that did not list this one, but an "In Memoriam" written in 1962-3.  I would describe this work as somewhat turbulent and dramatic, but definitely tonal and approachable,  and also quite engaging.
[...]
However, if you speak French, this may be of more use:
http://www.musimem.com/martinet-autobio.htm

Since the list of his works was provided by the composer himself, it is definitely reliable. I cannot find the reference right now but I have always thought that the "In Memoriam" symphony and the "Symphonie en hommage à Jean-Philippe Rameau" were one and the same. What troubles me is that the movements of the "In Memoriam" do not quite match the description of the latter (http://boutique.ina.fr/audio/PHD07008870/jean-louis-martinet-symphonie-en-hommage-a-jean-philippe-rameau-creation.fr.html). My guess is that the "In Memoriam" is a revised, final version of the Rameau symphony but I shall try to check it.

Many thanks, I had no idea that the (second) symphony from 1965 was left unfinished. Has anyboy heard what exists of it, or the (first) symphony from 1935, for that matter?

[Guillaume Landré]

Guillaume Landré (1905-1968)  - Anagrammen (1960)

Limburgs Symfonie Orkest
André Rieu, conductor

http://www.mediafire.com/download.php?mfg07vmrwx5m4xi

from lp Donemus DAVS 6703 (1967)

Live recording may 6th,1966

Surely everyone here is already well aware of that, but it might be useful to make it clear that the (in?)famous worldwide star violinist entertainer of the same name is the son of the conductor André Rieu. The son was a violinist in his father's orchestra. Not in this recording, though: he was still a student then.

To add some confusion, the Fifth has yet another title, under which it was recently premiered: Vojne vihre. My guess would be that both titles refer more or less directly to the storms of the war. The composer, who had subsequently been deported to Dachau, more or less put the score in a drawer and decided to rewrite it completely years later - the result being his Ninth and last symphony, Vojna in mir (War and peace, without any reference to L. Tolstoy's novel). It seems that it took a lot of persuasion from his close ones before he took up the Fifth. I have not heard the Ninth but the Fifth, as it is, strikes me as one of his most powerful and gripping works.

Abeliovich's Third is truly beautiful. What a shame that this composer was left in the dark. Incidentally, having an age-old passion for languages, I keep tracking transliteration systems and the most common Belarusian Latin (Łacinka) spelling for Lev Abeliovich would seem to be Leŭ Abielijovič.

Sorry, I thought that you had left Slovakia out. General notions are usually simplistic but, in a nutshell, Slovak composers I know do not aim at groundbreaking originality. Slovak music tends to be less fiery, more cool-headed than that of more famous Czech composers. The "liquid" element which can be so pervasive from Smetana to Martinů is often replaced with more moderately paced, slightly dancing features. Cikker's symphony '1945', actually his Third (the first two dating back to 1930 and 1937, respectively), is a very good example. Although his position as one of the "big 3" of Slovak modern music is undisputed, Cikker was never known as a bold modernist and this symphony adds a retrospective quality. However, it is extremely well written, with a fluidity of thought, a sense of formal balance, an ability to impulse fresh ideas in a fairly classical frame. Unsurprisingly, Slovak music also gives a feel of the highlands. The same words could be used for much Slovene music, even though the two countries are not even neighbours and are culturally quite distinct.

Well, surely other listmembers shall be happy to assist, but are still pondering when they can find enough time to state the "why"!
Obviously the "why" is indeed the most fruitful part for discussion, however, allow me to start modestly.

One of the best Hungarian uploads can be found in the French music section: Harsányi Tibor's Symphony in C. Harsányi was a member of the so-called "Ecole de Paris", a group of fairly modernist non-French composers living in Paris in the 1920s, together with Conrad Beck, Bohuslav Martinů, Marcel Mihalovici, Alexandre Tansman and Alexandr Tcherepnin. He is best remembered for his Histoire du petit tailleur, which has been performed several times alongside Stravinsky's Histoire du soldat in recent years. However, his symphony should come as a major find to many listeners. It is truculent in a Gallic way, but also full-blooded as befits a highly skilled Hungarian-born composer. Quite a few French postwar symphonies are competently written, even attractive and inventive, yet sometimes tend to meander or lack inner necessity. In contrast, Harsányi's never loses its way and impresses as a robust, colorful, powerful statement. There aren't so many Hungarian postwar symphonies at that level either, actually. From what I remember, Kadosa's 6th is good, his 7th too but more conversational, I have not found time yet to hear the rest.

If you do not know them yet, symphonies by Hanuš are definitely worth knowing. Some find them heavy and dull. Not me. The Third is very obviously in the grand Czech tradition, and a worthy heir for that matter. String writing is opulent but not thick, thematic invention warm and slightly bitter, the sense of form strong and full of nobility. It seems to encompass the best of a glorious lineage, much as Jirák was praised for by N. Slonimsky (rightfully so - his Third symphony is a masterpiece). Obviously Kabeláč has stronger claims to be the major Czech postwar pathfinder symphonist. His Sixth, with solo clarinet, might be the wildest and definitely one of his most impressive achievements.

I am unsure whether Doubrava's Third has been uploaded here, it came as a big surprise to me. Doubrava is generally ignored as a typical, bombast-ridden communist symphonist. By the time he completed his Third, 1956 events had brutally stripped him of many former beliefs. This is a monumental, raw, poignant statement, not only in its bare sincerity but also its painful loftiness. Doubrava passed away two years later, aged 51.

Oh dear. I just realized that I actually had the recording of the J. Kalnins concerto, but did not find the time to listen to it in ages. So, here are the references in Latvian:

Jānis Kalniņš (1904-2000)
Koncerts klavierēm ar orķestri (1984) 18:22
Arturs Ozoliņš (klavieres)
Pasaules latviešu jaunatnes simfoniskais orķestris / Edgars Kariks

It was broadcast by Latvian Radio LR3 in December 2008.

For Symphony No. 5, the three movements are:
Allegro moderato - Andante - Živahno (allegro).
Many movement titles for Slovene works can be found on the DSS website.

Thanks for posting this! To make sure that there is no confusion in my mind, is this the Symphony No. 3 (out of the 11 numbered symphonies by Andricu), completed in 1950, or the Chamber Symphony No. 3, completed in 1965?

Not sure whether Elroel follows this topic (his great uploads must keep him busy enough), but just for the record and for others interested, Miroslav Raichl, who sadly passed away in 1998, composed a second "Symfonietta" for chamber orchestra in 1984.

[Janis Kalnins: Piano Concerto]

Janis Kalnins: Piano Concerto

(Ozdina?- Soloist)
Latvian Youth Orchestra
(Karika?) Conductor

The conductor must be Edgars Kariks. As for the pianist, my guess would be Artūrs Ozoliņš, who is not only a major pianist in Canada but has performed many works by Latvian composers.