The significance of the title of this CD eludes me as the French meaning of “dessous” suggests underneath or underlying, and that is certainly not what happens to the solo horn in this repertoire! Peter Steidle’s excellent note which accompanies this fine collection of shorter concertante works emphasizes the influence and tradition of the cor de chasse in French writing for the horn. This is heard at its most potently atmospheric and exuberant in Bozza’s En foret and Koechlin’s highly poetic Poeme, which opens with a pastoral evocation and follows with a tranquil woodland Adagio before the hunting calls of the finale. Equally important in France was the survival well into the twentieth century of hand-stopping techniques on an open horn in preference to the use of the valve mechanism. The writer suggests that the lyrical romantic pieces here by Saint-Saens, Chabrier (which is especially attractive), d’Indy, and even more surprisingly Ravel’s famous Pavane pour une infante defunte (1910) were written for the natural horn without valves. Horn students at the Paris Conservatoire were expected to play their examination pieces both with and without valves. Zbigniew Zuk, however, uses a modern Alexander horn from Mainz and he plays it superbly with a lovely tone and absolute technical mastery. He is heard at his most impressive in the agreeably melodious and brilliant Dukas Villanelle.
The work which especially took my fancy here was the delicious three-movement Divertimento by Jean Francaix. As always with this engaging composer, each movement is a miniature and the wittily insouciant “Introduzione” only lasts for 1'47''. It is followed by a beautiful, melancholy “Aria di cantabile” and a closing hopscotch “Canzonetta” which even blows a few raspberries in its lighthearted progress. This work was hitherto unknown to me and alone recommends this CD as offering a worthwhile collection not to be missed by horn buffs. Zuk is capably accompanied and the recording is well balanced. Most enjoyable.'