Among Frank Martin’s more recorded works, his Violin Concerto (1951) has seldom been revived in concert; a pity, given its inventive take on Classical precepts. Not least the initial Allegro, its pellucid tutti making way for two vividly contrasted themes subsequently combined into a purposeful development, a dramatic yet finely integrated cadenza leading into a soulful coda. The central Andante, a passacaglia inferred by the pizzicato motion on lower strings, furthers this mood through its pathos-laden main theme, with the soloist set in relief by some typically dextrous orchestration, piano much in evidence. Its sombre climax and regretful leave-taking make the final Presto more striking for its onward drive and brittle sonorities, a lyrical theme quickly subsumed within the impulsive progress towards a decisive and affirmative ending.

Having recorded concertos by Hartmann and Vladigerov, Svetlin Roussev is clearly drawn to the less familiar. His perceptive account is more flexible than Wolfgang Schneiderhan and more involving than Baiba Skride, technically excellent though these both are. The coupling is the little-known Esquisse (1920) from Martin’s formative years, its impressionistic aspects wedded to a rhythmic assertiveness reminding one that the composer was a contemporary of Honegger. Arie van Beek and his Geneva forces are sure guides to this attractively amorphous music, akin to variations in search of a theme; an extra piece (Pavane couleur du temps from the same year?) would have extended the rather meagre playing-time, but this hardly offsets a firm recommendation. Well-defined sound and personable notes are additional enhancements.