This disc couples two 
                contrasting "Swiss" violin 
                concertos written less than 20 years 
                apart in the first half of the 20th 
                century. Whereas the Vogel is audibly 
                from the 20th century, if 
                not exactly avant-garde, the 
                Suter is a late-romantic work in the 
                standard three movement format. It could 
                have been written at least half a century 
                earlier but this doesn’t really matter 
                – it is a fine, lyrical work. Originally 
                written for Fritz Busch, it is far from 
                being just a virtuoso showpiece. Vogel’s 
                concerto is the work of a more original 
                mind, influenced by, but not subservient 
                to, twelve-tone techniques. After a 
                first movement with few surprises, at 
                its heart lies the long lento 
                second movement which begins with an 
                extended and nebulous sounding cadenza. 
                The third movement is marked ‘scherzando’ 
                and there is a brief finale "in 
                modo Mozart", during which the 
                overture to The Magic Flute is 
                given an atonal makeover. This is an 
                interesting work which is well worth 
                hearing. 
              
 
              
Both these composers 
                were completely new to me. Vogel was 
                born in Moscow, went to Germany in the 
                1920s but was exiled (mostly in Switzerland) 
                once the Nazis came to power, and finally 
                became a Swiss citizen in 1954. Scriabin 
                and Busoni were among his early influences. 
                The latter provides a link to Suter, 
                who championed Busoni’s music in concerts 
                he gave as conductor of the Basel Symphony 
                Concerts. Other links are suggested 
                in the amply annotated booklet – one 
                of Vogel’s pupils was Robert Suter and 
                his violin concerto was written for 
                Suzanne Suter-Sapin but their relationships, 
                if any, with Hermann Suter are not explained. 
              
 
              
Bettina Boller gives 
                convincing performances of both works. 
                She displays fine technique and communicates 
                well although there are some slightly 
                rough edges in the finale of the Suter. 
                She is well supported by the Lausanne 
                Chamber Orchestra. The recording is 
                perfectly acceptable, if not absolutely 
                out of the top-drawer. I enjoyed this 
                disc. Both these works deserve to be 
                better known and this is a very good 
                introduction to them. 
              
 
              
Patrick C Waller