This latest anthology from those enterprising folk at Albion Records launches in fine style with the endearingly personal Suite that Vaughan Williams fashioned for the great viola virtuoso Lionel Tertis (1876-1975), who gave the first performance with Sargent and the LPO at the Queen’s Hall in November 1934. The composer’s own arrangement with piano appeared two years later and is splendidly served on this occasion, Martin Outram and Julian Rolton as acutely responsive to the pensive musings of the substantial ‘Ballade’ and radiant lyricism of the ‘Musette’ as they are to the quirky mischief of the ‘Polka mélancolique’ and high jinks of the boisterous concluding ‘Galop’.

It seems that Tertis’s playing may well have been the inspiration behind the Romance of 1914, the manuscript of which only came to light after RVW’s death in 1958. The composer’s lifelong, deeply touching affinity with the instrument he had first taken up as a schoolboy is memorably displayed in this wholly characteristic piece, which finally received its premiere on January 19, 1962, by that distinguished Tertis pupil, Bernard Shore (1896-1985), who had served as principal viola of both the Queen’s Hall Orchestra and Boult’s magnificent BBC Symphony Orchestra. Suffice to say, Outram and Rolton do it proud, while both the Fantasia on Greensleeves (in Watson Forbes’s 1947 adaptation) and Six Studies in English Folk Song come up as fresh as new paint in their hands.

The pair also lend dashing advocacy to John Lenehan’s newly published arrangement of the Fantasia on Sussex Folk Tunes (inscribed to Pablo Casals and premiered by him at a Royal Philharmonic Society concert on March 13, 1930, when RVW was awarded that august institution’s Beethoven Gold Medal). Last, but definitely not least, we’re treated to a gloriously fervent outing for the underrated Four Hymns for tenor, piano and viola. Completed in 1914 but not heard until 1920, these marvellous settings of texts by (among others) Dr Isaac Watts (1674-1748) and the metaphysical poet Richard Crashaw (1613-49) are superbly served here, with Mark Padmore at his customarily commanding, discerning best.

Boasting exemplary production values throughout, this issue has already afforded me copious pleasure. Outram himself supplies an eloquent, highly informative booklet essay.