The major item in this attractive programme of early orchestral works by Ernesto Halffter (1905-89) is the Sinfonietta in D, written when he was 20 and for which he received a National Prize in 1925. In it one hears the neoclassical Stravinsky of the then still very recent Pulcinella, though distilled through de Falla's Iberian sensibility. Reviewing the CPO rival account of this thoroughly engaging score, the late Lionel Salter termed it most appositely 'blithe-spirited', but also noted the curious preferential billing of the violin, cello and double-bass soloists. While they do appear from time to time, so do most of the rest of the orchestral instruments, and the flautist and oboist, in particular, could justifiably feel aggrieved at being left out. The Gran Canarian players respond to the music with a verve that leaves their Frankfurt rivals - who perhaps just have the edge in precision of execution - sounding rather neutral by comparison. It is not a matter of tempos, either, since Tang is overall a touch swifter than Leaper.
Matters are more even in the Esquisses (also 1925), though Leaper's reversal of the order adopted by Tang, with the faster 'Chanson du Lanternier' with its resonances of Petrushka placed second, is more effective. In both works, then, this newcomer is to be preferred, though CPO's versions are in no way inadequate. The three shorter items are not otherwise available, and all impress in various ways. The longest is Habanera, a nine-minute tone-poem on the subect as much as the dance itself. Cavatina (1933) and Al amanecer ('At Dawn', 1937) are exquisite miniatures, here lovingly rendered. A treat.'