The brilliant young violinist Chloë Hanslip has recorded another volume of Hyperion’s Romantic Violin Concerto series, and displays her usual insouciant virtuosity and obvious delight in the music. Glazunov’s Violin Concerto, written for Leopold Auer, is a masterpiece of violin writing, including a brilliantly effective cadenza by the composer himself. As Hans Keller wrote, ‘Glazunov created an almost perfect concerto—instrumentally, the best I know amongst pianists’ violin concertos’.

Although being generally acknowledged as one of the leading composers of his native Switzerland, Othmar Schoeck (1886–1957) has never acquired a stable reputation outside the German-speaking world. This is partly due to his strong focus on the sung word: His output comprises eight operas, some 400 songs and a couple of smaller works for instrumental forces. Moreover, Schoeck’s essentially late-romantic style was considered démodé after the second world war when the avant-garde was arguing for a more rational and emotionally restricted approach to composition. One of his most personal works is the “Notturno” for baritone voice and string quartet. Written between 1931 and 1933 it served as a personal confession after an unhappy extra-marital love affair. Its five movements set verses by German 19th-century-poet Nikolaus Lenau and by the great Swiss writer Gottfried Keller. The highly differentiated interpretation by baritone Christian Gerhaher – one of the most distinguished young German “Lied” singers and a former disciple of Dietrich Fischer-Dieskau – and the Rosamunde Quartett offers a strong plea for Schoeck’s expressive music and sheds an exciting light on his artistic preoccupation with the dark abysses of human existence.