(Too) little known violin concertos

It is an old adage that Swiss composers are of little value in their own country. In recent years, however, there has been a refreshing joy of discovery that has brought many a gem to light. For example, Hermann Suter's Symphony in D minor, recorded by the Aargau Symphony Orchestra under Douglas Bostock, attracted international attention. And the same orchestra - now known as the argovia philharmonic - is currently working on a recording of Hans Huber's Symphony in D minor under Bostock's direction.

Kevin Griffiths has successfully emulated his British conductor colleague by performing two violin concertos by Hans Huber (1852-1921) and Paul Juon (1872-1940) with the Collegium Musicum Basel and recording them on Sony. The spiritus rector was the young Russian violinist Maria Solozobova, who had tracked down the works. They were already well received in the 2014 and 2016 concerts at Casino Basel, especially as the soloist contributed so much to the success. Now it has become a sound document of value.

Hans Huber's one-movement work, lasting around 18 minutes, is entirely in the late Romantic style: broadly flowing, musical thoughts strung together. The Collegium Musicum under the direction of Kevin Griffiths accompanies the soloist, who plays with stylistic confidence and a melting tone, with a sensuous but not sentimental sound.

The three-movement Violin Concerto op. 42 by Paul Juon, the grandson of a confectioner from Masein in Graubünden who emigrated to Russia, is more exciting and also "gnarlier". Juon's style, which oscillates between indulgent opulence and austere directness, also characterizes the Violin Concerto, which was composed in 1908/09. The work thrives on a variable meter which, like the melody, is constantly reshaped so that the impression shifts between down-to-earth and floating.

Juon's music is oriented towards the Russian and Nordic idiom of Sibelius, for example. Just right for Solozobova, who interprets the solo part with a warm sound and technical finesse. Kevin Griffiths, known for his straightforward conducting style, fits in well: the rhythmically delicate first movement is edgy and austere, the subsequent romance full of cantilenas and the folk music and dance finale with a powerful drive.

Although there are minor unevennesses in the orchestra in the recording, the shimmering acoustics of the Stadtcasino Basel, where the recordings were made, make you homesick for the excellent concert hall, which unfortunately cannot be played in again until 2021. It's a shame that the booklet contains information about the composers, but nothing about the recorded works.