Little of the large output of Josef Bohuslav Foerster (1859-1951) is widely known, yet, as this finely played, splendidly recorded disc demonstrates, he¡¯s an enthralling composer. His chromatic, highly expressive harmonic style and sophisticated orchestral writing place him firmly in the company of late Romantics such as Strauss, Elgar and his friend Mahler, but his music, with its clearly defined phrases and lyrical tone, retains a distinctively Czech character. Sometimes the resemblance to his nationalist forebears is clear ¨C the opening of the First Concerto recalls Smetana in passionate mood, and the Andante middle movement of No 2 evokes a Dvor¨¢k-like pastoral atmosphere. Foerster differs, however, in the way he indulges his lyrical gift; in place of the positive rhythmic drive characteristic of both Dvor¨¢k and Smetana his tendency is to allow energy to subside into dreamy reverie ¨C often extremely beautiful, but, especially in the long first movement of the First Concerto, weakening the overall impact.

However, Foerster shows real originality. The First Concerto¡¯s third movement, a graceful, sensuous waltz with playful, decorative writing for the soloist, is unlike any other violin concerto finale I can think of. Op 104 is a more introspective work, with an unusual but satisfying form. After three or four minutes of what promises to be a mercurial finale, we¡¯re suddenly recalled to the sombre surroundings of the first movement, to hear a complete recapitulation, which Foerster had earlier omitted. Ivan Zenat¡Ý plays with lovely tone and wide expressive range, contributing his own idiomatic cadenza to Op 88. The BBC SO under Belohl¨¢vek matches his warmth and conviction.