The Double Concerto for violin and cello is the second work that Philip Sawyers has composed for the prodigiously gifted Maja Bogdanovic´ (the first being the Cello Concerto of 2010 – 10/14). In the booklet, Sawyers notes that writing in the shadow of Brahms was ‘somewhat daunting’, but the (seemingly) effortless lyricism and warm Romanticism of his three movements belie this. Here is a vibrant, melodic work, beautifully laid out for the instruments from first bar to last, and Bogdanovic´ and violinist Daniel Rowland perform it with infectious enthusiasm.

The 20th century saw the creation of some magnificent viola concertos: Walton’s, Hindemith’s, Bartók’s and Holmboe’s (7/13) among many. Sawyers’s is worthy of such company, relatively modest in dimensions but punching well above its weight, from the striding theme of the opening Allegro to the breezy scherzando finale. Separating them is a contemplative, grave Andante. Rowland, here on viola, plays it with total belief, his tone exquisite, his understanding with the orchestra absolute.

A memorial for a colleague’s mother, Remembrance for strings (2020 21) incorporates quotes from Sawyers’s tone poem The Valley of Vision (1/19) that she had been rather taken with; a nice touch, and Kenneth Woods and the English String Orchestra respond with sensitivity. The Octet (2007) is scored for the same ensemble as Schubert’s (in which company it was premiered). It packs much into its 15 minutes: tragedy, pathos, a skittish waltz and some lively Hindemithian counterpoint. It is superbly rendered by eight members of the English Symphony Orchestra. Nimbus lists the players in the booklet, mistakenly assigning principal bassoonist Rosemary Cow to second clarinet! Fortunately, their recording, made at Wyastone in 2021, is a model of clear, warm, precise sound. Strongly recommended.