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VICTOR HELY-HUTCHINSON (1901-1947): The Young Idea (Rhapsody for Piano & Orchestra)
—David Owen Norris, piano; BBC Concert Orchestra;Gavin Sutherland, conductor
Dutton Laboratories 7206 (http://www.arkivmusic.com/)

A 'child of his time', Hutchinson was intrigued by the American jazz that swept Europe in the 20s, and created here a kind of "Britain in the Bronx", an up-beat concert entertainment that gets a superb reading by our listed forces. On this same disc are two superb piano concertos by Montague Phillips (one of the 'inventors' of 'light music' in England, though these pieces are quite serious), given top-notch readings by Mr. Norris. Worth a hearing.

NATHANAEL BERG (1879-1957): Symphony No. 1 ("Alles endet was entstehet")
—Deutsche Staatsphilharmonie Rheinland-Pfalz/Ari Rasilainen, conductor
Cpo 777324 (http://www.arkivmusic.com/)

A veterinarian by profession, though also an active composer and founder of the first Swedish composer's association, Berg wrote in a conservative Dvorakian style, and achieved real success in his day, though the post-war swing to modernism put him in the shade for a spell. He began this Symphony No. 1 early in 1912, with the notion of covering the four ages of man…early striving, love, the pleasures of adulthood, and happy old age. But in the midst of his work on the finale (which begins quite blissfully, with an almost Mahlerian folk-like joy), the Titanic sank, and the shock of this tragedy stirred Berg to a remarkable portrayal of disaster and the emotions in its after-shock. Some consider Berg's little-known score to be among the very best (of the admittedly few) Swedish symphonic scores. I know of nothing quite like it anywhere…disturbingly and satisfyingly effective. The companion Symphony No. 2 (Four Seasons) is a welcome alternative to Vivaldi!

RICHARD RODNEY BENNETT (b. 1936): Words and Music
JEROIME KERN (1885-1945): I won't dance
—Richard Rodney Bennett, vocals and piano
Chandos 10411 (http://www.arkivmusic.com/)

How often do you encounter an esteemed composer of 'serious' music (who's been knighted, for heaven's sake) entertaining in intimate cabaret setting with some of his own original and witty tunes and other examples, by Kern and Porter and Gersnwin, from the "Great American Songbook"? Wry and beguiling…pour yourself a bourbon and enjoy.

RICHARD RODNEY BENNETT (b. 1936): Songs Before Sleep (2003)
—Jonathan Lemalu, baritone; Philharmonia Orchestra/Richard Hickox, conductor
Chandos 10389 (http://www.arkivmusic.com/)

Like its composer, this song cycle is genteel, sophisticated, canny, and thoroughly engaging. The nursery-rhyme texts are given adult, intricately textured and imaginatively orchestrated settings, and Lemalu's clear diction and expressive, resonant voice bring words and music into perfect balance. This cycle sits amidst three other all-instrumental pieces in what is titled Volume One of Bennett's orchestral works. I cannot wait to hear Volume Two.

ERIC FOGG (1903-1939): Merok (Variations on a Norwegian Folk Song)
—BBC Concert Orchestra/Vernon Handley, conductor
Dutton Laboratories 7196 (http://www.arkivmusic.com/)

An impetuous child prodigy (at age 17 he conducted a concert of his own works at Queen's Hall), whose accidental death at 36 remains mysterious (accident or suicide), Fogg creates some subtle, laconic variations on a folk tune here, an evocative picture of a Norwegian village at the head of the Geiranger Fjord, reflecting impressive granite walls in still water. A marvelous miniature.

SAMUEL BARBER (1910-1981): Sonata in c for Cello and Piano, Op. 4 (1932)
—Matt Haimovitz, cello; Geoffrey Burleson, piano
Oxingale 2015 (http://www.arkivmusic.com/)

This empassioned, richly-recorded performance speaks from the brooding, late-romantic heart of Barber's early score. With other works by Elliott Carter, David Sanford, and Augusta Read Thomas, this superb album is a mini-survey of 80 years of American music for cello. Grab it.