It seems such an obvious idea to combine all of Honegger’s works for cello on one disc but I do not recall ever seeing such a programme before. The Sonatina, H42 (1921‑22), was originally written for clarinet, it’s true, and is not otherwise available, but then none of these works are exactly in the front rank of popularity, which is a shame. The single-movement Concerto (1929) has received several recordings before – two by Rostropovich, no less – but remains in one of the repertoire’s side-alleys.

Poltéra’s firm, warm tone is well suited to Honegger’s muscular writing with its occasional reminiscences of Hindemith and early Stravinsky, but he is fully alive to the Swiss composer’s delicate strain, as in the lilting opening theme of the Concerto, or the Sonatina for Violin and Cello’s spectral Andante. In the latter work, written in 1932, Tetzlaff proves a stimulating partner and their scintillating account comes close to that of Zimmermann and Schiff, although I prefer the acoustic and instrumental balance on ECM’s disc.

Poltéra’s tempi are refreshingly swift throughout and his dexterity matched by his accompanists, not least Ollila-Hannikainen and the Malmö SO, who prove to be sensitive and forceful as required. Kathryn Stott performs wonders ensuring the piano does not obscure the cello, even in the quieter, more lugubrious sections in the excellent 1920 Sonata, perhaps the deepest work here. Its three compact movements – playing for less than the Concerto’s modest quarter-hour, contain a good deal of expressive ground and an appealing fusion of substantial melodic lines with cogent structural design. Excellent sound, as usual.