My recent column about Bru Zane elicited a welcome response from Olivier Lalane, the artistic director of a new label called Voila!, which, like Bru Zane, is devoted to segments of musical history that have been largely or wholly forgotten. Lalane’s first offering is devoted to the Austrian composer Oskar Posa, who lived from 1873 to 1951 and is best known, to the extent that he is known at all, as a member in the circle around Zemlinsky and Schoenberg just after the turn of the century. The 1905 Musikverein concert that saw the premières of Schoenberg’s Pelleas und Melisande and Zemlinsky’s Die Seejungfrau also included Posa’s five Liliencron settings for baritone and orchestra. I’d seen the poster for that concert and fleetingly wondered who Posa was. A few years back, Lalane saw the same document and set about answering the question. He has uncovered a remarkable trove of vocal and chamber music and fashioned a comprehensive chronicle of the composer’s life — the booklet for the recording runs to over two hundred pages. Posa received quite a bit of attention early in his career, but as the century went on and the Viennese musical scene fractured, he receded from sight. During the Nazi period, he remained in Vienna but somehow survived the Holocaust, dying in complete obscurity. The music is not as radical as Schoenberg’s or even Zemlinsky’s. It is very much within the late-Romantic frame, the chamber works looking back to established Classical models. Yet it has an energy of invention and a command of form that make it eminently worth hearing. It benefits enormously from engaged, idiomatic performances by the baritone Edwin Fardini, the pianist Juliette Journaux, the violnist Eva Zavaro, the cellist Simon Dechambre, and the Quatuor Métamorphoses. I look forward to Voilà’s next offering, a compilation of works by Alfred Bachelet.