Alan Bush - pupil of John Ireland, Professor of Composition at the Royal Academy of Music for half a century - was undoubtedly one of the major musical figures of British music in the 1920s, '30s and '40s. More importantly, in his earlier works he developed a promising 'thematic' variation of serialism, which retained a tonal base, convincingly and appealingly demonstrated here. Yet little of his output has been recorded, and performances in England have been, and are still, very rare indeed. However his music was regularly performed (including the four operas!) in the 1950s and '60s in Soviet Russia and East Germany, and was apparently much admired by Shostakovich.

The reason is simple. Bush joined the British Communist Party in 1935 and remained a devotee of the Soviet political mirage throughout his life, even moderating his sinewy early lyricism into a more easily communicative style in 1948, loyally following the Soviet directive. Sadly, in his nineties (as John Amis tells us in his excellent notes for the Meridian CD) he was 'not even aware of the crumbling of the Soviet Union', for 'his memory of the last 50 years had disappeared'. In England his firm political stance alienated many in positions of power, and his works in consequence went unheard. He observed somewhat wryly: 'Well, I suppose you might say I asked for it.'

Now, at last, time begins to make amends, and although the (splendid) recordings on the Claudio disc date from the 1980s, they are of the very highest quality, as indeed is Meridian's newer instrumental programme. Fortunately the two collections are not only complementary, but also include the three key works in Bush's output: the riveting Dialectic for string quartet of 1929, the extraordinary Concert Piece for cello and piano of 1936, and the vividly attractive and much mellower Violin Concerto of 1948. This marked the composer's change to a more directly communicative, rhapsodical lyricism, which balances the work's pulsing, rhythmic opening and its closely related dance-like finale. The solo writing has an attractive neo-classical element also reflected in the orchestral string-writing, while the brass interjections in the opening movement remind one of British film music during its golden era. This is a concentrated work which invites the listener's immediate participation, especially in a performance so persuasively assured and sympathetic as Manoug Parikian's, admirably accompanied by the BBC Orchestra.

As for the Dialectic, it is so marvellously played that one longs to hear it live at Wigmore Hall; perhaps the Medici Quartet will oblige. Tersely argued, but brimming over with passionate lyricism, it reaches a fugal climax of thrusting intensity, one which even recalls Beethoven's Grosse Fuge.

That suggested programme might also include the even more challengingly rhapsodic Concert Piece for cello and piano, written prophetically as war clouds were gathering in Europe. The music's angst expresses real despair, the harmony bleakly astringent. Yet there is a touching central cantilena of the utmost sadness before the malevolent closing section with its march rhythms builds to an urgent and uncompromising climax. One could then turn to the balm of the Viola Sonata with its pastoral atmosphere (the opening and close might almost be by Vaughan Williams) or the lovely, very English evocation of a Summer Valley (ravishingly played here).

The three artists on Meridian's instrumental programme have obviously lived with this music and play very sympathetically indeed and with fine ensemble. There is all the expressive power needed in Op 17, while the central 'Nocturne' of the Op 31 Concert-Studies for piano trio is haunting in its gentle atmospheric feeling, and the closing 'Alla Bulgaria' great fun. The two charming Easy Pieces for cello, and the pair for viola (both with piano) show Bush's disarming melodic gift. On the Claudio CD, the composer himself presents - very positively - the series of varied and ear-catching (late) piano miniatures which make up his Op 99.

In short, this pair of CDs combines excitement and real stimulation, lyrical strength and musical pleasure, in varying measures, and I cannot recommend them too highly. Let John Amis have the final word. He tells us that 'Bush was a delightful man' who 'wrote music for head and heart, and many times managed to combine the two elements...these [works] are all masterly and endearing.'