Offenbach composed his Concerto militaire in 1847, more than a decade before the premiere of his first operetta, Orphée aux Enfers, to showcase his considerable prowess as a cellist. It’s a sprawling score that runs close to 45 minutes, and while undeniably episodic, it wins big on charm – particularly the finale, whose gently satirical character looks forward to his music for the stage. Until recently, the concerto was only available in an incomplete version; Jérôme Pernoo and Marc Minkowski made the first recording of Jean-Christophe Keck’s full, scholarly edition (DG, 4/07), revealing a far more impressive and original work than previously thought. Honestly, I’m surprised it’s taken this long for a rival account to appear.

Edgar Moreau is a commanding presence, playing with a robust, singing tone that illuminates Offenbach’s debt to bel canto. His virtuosity can be thrilling, as at 6'29" in the finale, where he flutters so rapidly in his high register it seems possible his cello might take off and fly away. Unfortunately, Moreau is let down by conductor Raphaël Merlin, who misses the rhythmic élan Minkowski brings to the score. The tubby recorded sound doesn’t help, either, as it obscures too much important orchestral detail.

Gulda’s concerto fares better. It’s an oddball work – like Offenbach’s – that mashes together rock, jazz, German folk dance, passages that seem snatched from a ’60s cinematic romance, and more besides. Gulda composed it for Heinrich Schiff, and no one has matched Schiff’s ferocity in a live concert from Munich in 1988 with the composer conducting (you can find it on YouTube). Moreau finds his own way, however, tracing a lyrical line from beginning to end – even in the wildest passages of the cadenza – that brings a welcome sense of integration despite the jarring stylistic shifts. The Menuett is done especially beautifully, with plenty of rhythmic point. Indeed, Merlin and Les Forces Majeures play with character and an appropriate feeling of fun.