A programme of works, several of them small-scale, and drawn from different stages of Alwyn's long compositional career. Most substantial are the two Concerti Grossi, No.2 very much in the tradition of British music for strings written in tne last century; and following the example of Elgar and Vaughan Williams, providing contrasts between tutti strings and a quartet of soloists. The contribution of the (unnamed) RLPO quartet is particularly eloquent in the second, slow, movement. The Concerto Grosso No. 3 is bolder and more epic in its proportions. The finale, an elegiac movement celebrating the memory of the Proms founder Sir Henry Wood, harks back to the music of his heyday in passages of great beauty and intensity that make a fitting end to the programme.
The Moor of Venice Overture, at the start, is a dramatic piece with sharply charcterised themes representing the characters in Shakespeare's play in a vivid score with its echoes of Tchaikovsky. The complement is made up by lighter works from earlier in Alwyn's output, the Serenade and Seven Irish Tunes, both skilfully orchestrated and attractive.
Another clear recording, and excellent playing from the RLPO, together with the detailed notes that have become a hallmark of Naxos releases.