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I love Mieczysław Karłowicz (1876 - 1909), he was a Polish composer and he died so young because of an avalanche when he was in mountains. I praise his Violin Concerto in A major and symphonic poem "Odwieczne pieśni". I am very glad you've put Vasily Kalinnikov on your list, if only he had lived longer... but what he already composed is amazing

The Waiting Room Exploration of natural orchestral instruments, with synthesized instruments, with some sound design processing thrown in. Reflective, EZ listening.

This is an interesting scenario. I've done both things (written for specific people, and written stuff without anyone in mind,) and I think that the most important thing is that if you're writing for specific people, they should know and you should tell them what you're doing to some degree. You should be very familiar with what repertoire they can play well and what's their overall technical level. I've had mostly good experiences with this as people I've written things for trust me enough to let me do whatever I want, and it's worked out pretty well. However, you can't count on that being the case and it could as well be that they can put restrictions on what they want you to write, etc etc. If it's an outright paid commission, then sure it doesn't matter that much that you cater to their wishes since a job's a job, but in my experience I've always done things in a way where I have the freedom I need to do my thing first and foremost. However, I understand that may not be always possible or reasonable. The best way to go about it, in my opinion, is to write for no specific person and write what you actually just want to hear. Then, after you've written the piece, see if there are any comments on possible changes or interpretations that you may be willing to compromise on. I think this gives off the best impression of you as composer since you are sure of your work but at the same time you are open for suggestions, just remember that you are the boss in the end, with all the responsibility that entails.

@Theodore Servin Where has Chesnokov been all my life? Wonderful piece, and I do very much enjoy Russian liturgical music. I presume you must have heard Rachmaninov's "All-Night Vigil" or "Vespers" from 1915...one of the last great masterworks of Russian liturgical music before the Revolution put an end to it all. I enjoyed the Kuula too, with all that delicious chromaticism and the parallel major thirds in a minor mode. He reminded me of Grieg in spots, but his is certainly a very unique voice. I wonder how many other Finnish composers there are from this period that don't get their due. Sibelius doesn't seem to leave room for them.

@HoYin Cheung I love Moszkowksi and Chausson as well! Both pieces that you mentioned are masterworks too! I also love the Piano Concerto no. 2 in E major from Moszkowski and the Piano Quartet in A major from Chausson.

I would praise Moritz Moszkowski too Moritz (Maurice) Moszkows (1854 - 1925) was a German composer, pianist, and teacher of Polish-Jewish descent. I particularly like his Piano Concerto No.1, because of both the breathtaking melodies and well-balanced arrangement. Although I am not a pianist. but I can see his works are great for pianist to show off. Also: Ernest Chausson (1855-1899) was a French romantic composer. His wrote a few orchestral pieces, concerti as well as ensemble works. Personally, Poème for violin and orchestra is very nice.

A better solution may come along at any time, either in a flash of inspiration, or through serious thought. Don't worry about it. Even if it never gets solved to your satisfaction, it's a documentation of where you were at that point in your development. This is why I seldom revise my own compositions later, and leave them as they were, even if I know better. I want there to be a record of my development. I have this slightly pompous idea that someday, someone might actually care! 😉