Franz Schmidt - Symphony no.3 in A (1928): 2. Adagio

Franz Schmidt - Symphony no.3 in A (1928): 2. Adagio. Performed by the Frankfurt Radio-Sinfonieorchester, conducted by Paavo Järvi. Recorded February 2014 at Alte Oper, Frankfurt am Main, Germany. Record label: Deutsche Grammophon.
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From Wikipedia:
Franz Schmidt, also Ferenc Schmidt (22 December 1874 - 11 February 1939) was an Austro-Hungarian composer, cellist and pianist.
In 1914 Schmidt took up a professorship in piano at the Vienna Conservatory, which had been recently renamed Imperial Academy of Music and the Performing Arts. (Apparently, when asked who the greatest living pianist was, Leopold Godowsky replied, "The other one is Franz Schmidt.") In 1925 he became Director of the Academy, and from 1927 to 1931 its Rector.
As teacher of piano, cello and counterpoint and composition at the Academy, Schmidt trained numerous instrumentalists, conductors, and composers who later achieved fame. Among his best-known students were the pianist Friedrich Wührer and Alfred Rosé (son of Arnold Rosé, the founder of the Rosé Quartet, Konzertmeister of the Vienna Philharmonic and brother-in-law of Gustav Mahler). Among the composers were Walter Bricht (his favourite student), Theodor Berger, Marcel Rubin, Alfred Uhl and Ľudovít Rajter. He received many tokens of the high esteem in which he was held, notably the Order of Franz Joseph, and an Honorary Doctorate from the University of Vienna.
Schmidt's private life was in stark contrast to the success of his distinguished professional career. His first wife, Karoline Perssin (c. 1880-1943), was confined in the Vienna mental hospital Am Steinhof in 1919, and three years after his death was murdered under the Nazi euthanasia program. Their daughter Emma Schmidt Holzschuh (1902-1932, married 1929) died unexpectedly after the birth of her first child. Schmidt experienced a spiritual and physical breakdown after this, and achieved an artistic revival and resolution in his Fourth Symphony of 1933 (which he inscribed as "Requiem for my Daughter") and, especially, in his oratorio The Book with Seven Seals. His second marriage in 1923, to a successful young piano student Margarethe Jirasek (1891-1964), for the first time brought some desperately needed stability into the private life of the artist, who was plagued by many serious health problems.
As a composer, Schmidt was slow to develop, but his reputation, at least in Austria, saw a steady growth from the late 1890s until his death in 1939. In his music, Schmidt continued to develop the Viennese classic-romantic traditions he inherited from Schubert, Brahms, and Bruckner. He also takes forward the "gypsy" style of Liszt and Brahms. His works are monumental in form and firmly tonal in language, though quite often innovative in their designs and clearly open to some of the new developments in musical syntax initiated by Mahler and Schoenberg. Although Schmidt did not write a lot of chamber music, what he did write, in the opinion of such critics as Wilhelm Altmann, was important and of high quality. Although Schmidt's organ works may resemble others of the era in terms of length, complexity, and difficulty, they are forward-looking in being conceived for the smaller, clearer, classical-style instruments of the Orgelbewegung, which he advocated. Schmidt worked mainly in large forms, including four symphonies (1899, 1913, 1928 and 1933) and two operas: Notre Dame (1904-6) and Fredigundis (1916-21).
Schmidt is generally regarded as a conservative composer, but the rhythmic subtlety and harmonic complexity of much of his music belie this. His music combines a reverence for the Austro-German lineage of composers with innovations in harmony and orchestration (showing an awareness of the output of composers such as Debussy and Ravel, whose piano music he greatly admired, along with a knowledge of more recent composers in his own German-speaking realm, such as Schoenberg, Berg, Hindemith, etc.).