Even by composer standards, Rued Langgaard (1893-1952) was a little bit of a strange bird. Despite a promising start – born to musical parents, a precocious childhood, meetings with major conductors, and a symphony performed by the Berlin Philharmonic – his personal and creative eccentricities worked against him.

Langgaard followed his personal muse deep into the realm of late Romanticism at a time when most of the musical world was exploring modernist territory. Though he was given a state grant at 30, he failed to secure a permanent job until the age of 46, as an organist at the cathedral in Ribe, the oldest town in Denmark – which somehow seems appropriate for this most anachronistic of Danish outsiders.

An eccentric, shabby figure with wild hair, Laangaard died in Ribe 13 years later, in 1952, just shy of his 59th birthday, still largely unrecognized as a composer.

His reputation would not begin to gain traction for another 16 years. In all, he composed over 400 works, including 16 symphonies – which bear evocative titles such as “Yon Hall of Thunder” and “Deluge of the Sun” – and an opera, “Antikrist.”

It was in 1968 that no less a personage than György Ligeti found himself on a jury alongside Danish composer Per Nørgård. In this capacity, he examined a large number of new scores by Scandinavian composers. Unbeknownst to his fellow jurors, Nørgård had slipped in the score of Langgaard’s “Music of the Spheres.” Ligeti became captivated by what he found. When the ruse was revealed, he exclaimed, with a twinkle in his eye, “Gentlemen, I have just discovered that I am a Langgaard epigone!”

Langgaard had anticipated some of the technical aspects – tone clusters, layers, and so forth – which would appear in Ligeti’s avant garde experiments of the 1960s, in works such as “Atmosphères.”

I hope you’ll join me for “Rued Awakenings,” music of Rued Langgaard, including “Music of the Spheres,” on “The Lost Chord,” this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwm.org.