We have reached Vol 5 in Guild’s extensive survey devoted to the Swiss composer Fritz Brun (1878-1959). Completed in May 1946, the Piano Concerto in A major received at least three public performances (in 1948, 1950 and 1953) by dedicatee Franz Josef Hirt (a protégé of Egon Petri and Alfred Cortot), partnered by Volkmar Andreae, Hans Rosbaud and Brun himself. A big-hearted, engagingly protean canvas it proves, too, lasting some 38 minutes and couched in an idiom much indebted to Brahms, Reger and Busoni. Unfortunately, the concerto’s sizeable (and, for the soloist, technically taxing) outer movements are inclined to sprawl – even after a handful of hearings the thread remains stubbornly elusive – but we do get a deeply felt and often haunting slow movement marked Andante sostenuto, which is scored with rare delicacy (Brun asks for just one clarinet and two each of viola, cello and double bass). Rather more readily assimilable are the 1944 Variations for piano and orchestra on an original theme (commissioned by Paul Sacher) and 1954 Divertimento for piano and strings, the latter especially displaying a felicitous touch, variety of mood and sense of whimsy that are endearing.

Intriguing repertoire, then, though I for one would question whether it truly measures up to the claims made for it in the booklet. However, it would be mean of me not to single out for praise the tireless contribution of pianist Tomá≈ Nemec; indeed, the Slovak virtuoso displays poetry, polish and stamina in abundance. He is ably supported by Adriano and the Bratislava SO, whose spirited efforts have also been captured with commendable presence and warmth.