When I reviewed the Hoelscher version of the Schoeck Concerto, I expressed astonishment that a work of such rich lyricism and abundance of good ideas had languished so long in neglect. (The 78rpm pioneering set made by the dedicatee, Stefi Geyer, in Zurich during the war is a great rarity.) She was obviously something of a beauty, for not only did she inspire Bartok's early concerto but a few years later brought Schoeck under her spell. Their relationship came to nothing, although it did inspire a work of extraordinary warmth and lyrical ardour. The idiom is very much that of Brahms and Strauss, though in the slow movement there is something of the poignant melancholy and autumnal resonance of Elgar. It is a piece that grows in my estimation on each hearing.
Bettina Boller is a pupil of Ulrich Lehmann, who made a recording of the Concerto with the Zurich Tonhalle Orchestra (available in the USA on the Mace label), and let me say straight away that none of the versions I know shows anywhere near the understanding of and love for this piece as do the young artists here. The quality of both interpretation and playing of the Swiss Youth Symphony Orchestra reflects great credit on the conductor, Andreas Delfs. The performance is beautifully phrased and spacious; the orchestra sounds completely inside this music, and conveys the remarkable atmosphere Schoeck evokes to compelling effect. Boller also plays with the utmost understanding and sensitivity, and impeccable technique, but as captured by the recording engineer her tone is somewhat hard and wiry. The wind (in particular the clarinet in the opening) are also a bit too close.
Hoelscher's version with Howard Griffiths and the ECO on Novalis comes with the Op. 1 Serenade and the 1945 Suite in A flat. On this Claves disc we are offered a suite from Penthesilea arranged by Delfs, and now that the 1970s Harmonia Mundi recording on LP of this extraordinarily inventive and original opera is no longer available this is all that we have of the piece. Not absolutely top-drawer recording perhaps, but the music is well enough played to be recommendable. On balance Boller's is, as I have intimated, a more searching account of the Concerto than her existing rival's, good though that is. A most welcome addition to Schoeck's representation in the catalogue.'