Long known more as a formative teacher than as a composer, Hans Koessler emerges here with two substantial scores that inhabit the fertile borderland between tradition and late-Romantic imagination. The B-minor Symphony preserves the classical four-movement span and a Brahms-leaning sense of motivic cohesion, yet it also relishes vivid, illustrative sonorities: timpani and brass lend the opening a solemn, sometimes dramatic profile, while the finale’s pointed tambourine touch evokes a distant military world. At the centre stands an E-minor Adagio with the tread of a funeral march, finding consolation as it turns towards major. The Violin Concerto—cast as a single, multi-sectional Passacaglia—binds Baroque technique to richly worked harmony, creating a distinctive chiaroscuro in which the solo line and orchestra converse with sombre lyricism. Fedor Rudin, with the Nürnberger Symphoniker under Rudolf Piehlmayer, shapes these rediscoveries with focused colour and a keen ear for their shifting emotional temperature.