The Cello Concerto is in the same league as the later Dvořák concerto with a first movement ripe with surging energy and some really dramatic writing for the brass. The Molto Adagio glows with gracious lyricism and while the manner might be familiar from Dvořák and even Brahms the listening experience is fresh and full of intriguing detail. A noble allegretto reminded me at times of Dvořák 8 and at others very strongly of the Brahms Violin Concerto. It’s a delightful work and an early crowning glory for this composer.

The Third Piano Concerto survived only in two piano score. Because the full score could not be found Geoffrey Bush - who did so much for Stanford’s music and reputation – did the orchestration. This time the stormy-heroic manner leans more noticeably towards Brahms; nothing untoward in that. I found myself thinking of the gymnastic euphoria of Brahms’ Second Piano Concerto in the first and last of the three movements. The middle movement – a Larghetto – includes extensive calm solo episodes for the piano with gentle interventions from the orchestra; these return most touchingly in the finale. This is a very optimistic work radiating smiling confidence.

The notes (in English only) by Lewis Foreman are well up to his usual high standards in terms of content and readability.

Two works that add invaluably to the repertoire.

-- Rob Barnett, MusicWeb International