Like so many important Austrian musicians forced into American exile by the Nazis, Richard Stöhr (1874–1967) suddenly found himself cast from celebrity into obscurity. The optimism and energy, even defiance, of these three works from 1942 suggest that he took it on the chin, with his musical language retaining its Viennese accent in an individual amalgam of Bruckner, Mahler, Schmidt, and Korngold. Indeed, the echoes of Mahler in Stöhr’s Second Symphony may be a deliberate homage if, as seems possible, this 1942 version is a revision of a now-lost work first composed shortly after Mahler’s death.