Madetoja is today seldom heard outside the Nordic countries (the Elegia perhaps excepted). A few commentators, however, have described such neglect as unfortunate and undeserved, as Madetoja is one of the most important post-Sibelian Finnish symphonists. Part of this neglect is not unique to Madetoja: the titanic legacy of Sibelius has made it difficult for Finnish composers (especially his contemporaries), as a group, to gain much attention, and each has had to labor under his "dominating shadow". However, with respect to the neglect of Madetoja in particular, something else might also be at play: Madetoja's eschewal of Romantic excess in favor of restraint, perhaps, has made him a tougher sell to audiences. According to one music critic: In recent decades, Madetoja has begun to enjoy the renaissance Parland foresaw, as the recording projects of numerous Nordic orchestras and conductors evidence. Petri Sakari and the Iceland Symphony Orchestra (Chandos, 1991–92) and John Storgårds and the Helsinki Philharmonic Orchestra (Ondine, 2012–13) have each recorded the symphonies and a few of the more famous orchestral miniatures. Arvo Volmer and the Oulu Symphony Orchestra (, 1998–2006), the largest of the projects, has recorded nearly all of Madetoja's works for orchestra, featuring the world premiere recordings for many pieces, among them the complete Symphonic Suite, Op. 4 (as opposed to just the Elegia), the Chess Suite, Op. 5; Dance Vision, Op. 11; the Pastoral Suite, Op. 34; the Barcarola, Op. 67/2, and Rustic Scenes, Op. 77. All three of Madetoja's stage works, furthermore, have now been recorded in their complete, unabridged form—two recordings of The Ostrobothnians (Finlandia, 1975: Jorma Panula and the Finnish National Opera Orchestra; and, Finlandia, 1998: Jukka-Pekka Saraste and the Finnish Radio Symphony Orchestra) and one each of Juha (Ondine, 1977: Jussi Julas and the Finnish Radio Symphony Orchestra) and of Okon Fuoko (Alba, 2002: Volmer and the Oulu Symphony Orchestra). Nordic vocalists, virtuosos, and ensembles have preserved many of Madetoja's non-orchestral pieces as well. In 2004, Mika Rannali and Alba teamed to record Madetoja's complete works for solo piano, while in 2001–02, and Helena Juntunen covered the complete lieder for solo voice and piano for Ondine (, piano accompaniment). Madetoja's works (with opus numbers) for choir a cappella have also received systematic treatment; in the 1990s, the YL Male Voice Choir and Finlandia recorded (across three volumes) those for male choir, while in 2006–07, the Tapiola Chamber Choir and Alba tackled