The classical music world can be oddly conservative.
For all the centuries of repertoire at our fingertips, concert programs often circle the same familiar names—Beethoven, Mozart, Brahms—on an endless loop. And while there’s plenty to love there, it means a lot of incredible music gets left behind. Entire symphonies, sonatas, and concertos—once celebrated, daring, or just flat-out beautiful—have quietly slipped through the cracks of history, waiting to be dusted off and heard again.
Why do some pieces vanish while others become immortal? Sometimes it’s bad timing. Sometimes it’s the wrong gender, nationality, or politics. Sometimes it’s just a mystery. But whatever the reason, these lost works are worth reclaiming—not out of duty, but because they’re brilliant. They stir the blood, break the heart, dazzle the ears. They deserve to be heard.
What follows is a handpicked list of 11 criminally underplayed classical gems. Each one has something unique to offer—whether it’s a forgotten masterpiece, a bold experiment, or a lyrical jewel that somehow never caught on. If you’re tired of the same old overtures and adagios, start here. You might just fall in love with something you never knew existed.
Make sure to sample them via the links we've provided - and see what you think!
1. Louise Farrenc: Symphony No. 3 (1847)
Louise Farrenc’s Third Symphony is a masterclass in Romantic orchestration—elegant, dramatic, and brimming with melodic invention. Despite her acclaim in 19th-century France, Farrenc’s music faded into obscurity, likely due to the era’s gender biases. This symphony, with its Beethovenian energy and Schumann-esque lyricism, showcases her exceptional talent. It’s high time this work returned to concert halls.
2. Nikola Medtner: Forgotten Melodies (1919-21)
Nikolai Medtner’s Forgotten Melodies (Op. 38–40) are anything but forgettable—rich, introspective piano works full of shimmering beauty and emotional depth. Blending classical structure with late-Romantic color, they rival Rachmaninov in expressiveness, yet remain curiously overlooked. Perhaps too subtle for showy virtuosos, they reward careful listening with poetic nuance and haunting nostalgia. These cycles are a master pianist’s dream—and a powerful argument for Medtner’s long-overdue recognition.
3. Mel Bonis: Violin Sonata in F-sharp Minor (1898)
Mel Bonis’s (1858-1937) Violin Sonata in F-sharp Minor is a passionate, lyrical work that easily rivals those of her male contemporaries in depth and craftsmanship. Rich in melodic invention and emotional nuance, it blends Romantic warmth with structural elegance and a refined sense of drama. Despite her clear talent, Bonis was long sidelined due to her gender. This sonata is a powerful testament to her voice—and it deserves far wider recognition and performance today.
4. Hector Berlioz: Lélio, ou Le Retour à la Vie (1831)
A sequel to Berlioz's much-loved Symphonie fantastique, Lélio is an unusual mix of monologues, orchestral music, and choral elements. It tells the story of the same lovelorn protagonist from Symphonie fantastique, now a composer reflecting on his experiences. Its hybrid nature—part melodrama, part concert piece—has made it difficult to program, despite its historical significance. While Berlioz fans appreciate its innovation, its unconventional structure has kept it from the standard repertoire.
5. Charles-Valentin Alkan: Concerto for Solo Piano (1857)
Alkan’s Concerto for Solo Piano is a tour de force of pianistic virtuosity and imagination. Spanning three epic movements, it mimics the scale and grandeur of a full piano concerto—without the orchestra. The writing is ferociously demanding, filled with dramatic contrasts, intricate counterpoint, and explosive energy. Long neglected due to its formidable difficulty, this astonishing work remains a cult favourite and a hidden treasure for adventurous pianists and listeners alike.
6. Amy Beach: 'Gaelic' Symphony (1896)
Amy Beach’s 'Gaelic' Symphony in E Minor is a lush, evocative masterpiece, richly infused with Irish folk melodies and Romantic grandeur. As the first symphony composed and published by an American woman, it stands as both a musical and cultural landmark. The orchestration is vivid, the themes heartfelt and memorable, blending national identity with personal expression. Powerful and beautifully crafted, this symphony deserves far more attention in concert halls and recordings today.
7. Luigi Cherubini: String Quartets (1814-35)
The six string quartets of Luigi Cherubini are masterfully constructed, showcasing his profound grasp of classical form and contrapuntal technique. Admired by Beethoven—who considered him one of his greatest contemporaries—Cherubini balances structural precision with genuine expressive depth. These works offer elegance, wit, and emotional richness, standing shoulder to shoulder with better-known quartets of the era. Yet, overshadowed by his operas and changing musical tastes, they remain unjustly neglected in today’s chamber music repertoire.
8. Ethel Smyth: The Wreckers Overture (1906)
Bold, dramatic: Ethel Smyth’s overture to her opera The Wreckers is a bold, dramatic work that instantly commands attention. It captures the opera’s turbulent themes—moral conflict, coastal peril, human struggle—with sweeping intensity and muscular orchestration. Smyth’s confident use of thematic development and orchestral colour reveals a composer with a powerful, individual voice. Long overshadowed by her gender and politics, this overture stands as a stirring and defiant entry point into her richly rewarding output.
9. Benjamin Dale: Piano Sonata in D minor (1905)
Benjamin Dale’s Piano Sonata in D Minor is a sweeping Romantic epic, blending Wagnerian harmonic richness with Lisztian bravura and intensity. Composed when he was just 21, it reveals astonishing maturity, emotional depth, and formal control. The work moves seamlessly from brooding introspection to fiery virtuosity, offering a deeply rewarding experience for both performer and listener. Once highly regarded, it has since faded from view—but it absolutely deserves a prominent revival.
10. Rebecca Clarke: Viola Sonata
Rebecca Clarke’s strikingly original Viola Sonata is an emotionally charged work, blending Impressionistic colour with late-Romantic intensity. Written in 1919, it showcases the viola’s full expressive range—by turns fiery, lyrical, and hauntingly introspective. Its sophisticated harmonic language and dramatic pacing rival anything by her male contemporaries. Often overshadowed by gender biases and historical neglect, this sonata is a masterwork that fully deserves a central place in the chamber music repertoire.
11. Antonio Pasculli: Le Api (The Bees, 1880s)
Antonio Pasculli’s Le Api (The Bees) is a dazzling showpiece that pushes the oboe to its technical limits. With rapid-fire runs mimicking the frantic buzz of bees, it’s a virtuosic marvel—playful, intricate, and exhilarating. Pasculli, often dubbed the 'Paganini of the Oboe', wrote with unmatched flair for the instrument. Though rarely performed due to its difficulty, Le Api is a thrilling gem that deserves far more time in the spotlight.
12. Jane Joseph: Morris Dance and Bergamask (1920s)
A gifted protégé of Gustav Holst, Jane Joseph was a rising star in early 20th-century British music. Her orchestral miniatures, such as Morris Dance and Bergamask, are charming, rhythmically vibrant, and full of character. Skillfully crafted and brimming with wit and energy, they reveal a composer with real flair. Tragically, her life was cut short at 35, leaving much of her work unpublished. These overlooked gems deserve fresh performances and lasting recognition.
Rebecca Clarke pic by Matt Herring Illustration
All other pics: Getty Images
