The previous discs in Marco Polo’s valuable Braga Santos series‚ covering all the symphonies (bar the Fourth)‚ each paired a product of his early modal­Classical idiom with a work from his later‚ more austere manner. This newcomer features four works for string orchestra‚ including two concertos‚ the chronological disposition of which neatly illustrates how the composer’s style made that change during the 1960s. This is the third outing for the 1951 Concerto for strings‚ a tribute to its winning‚ Vaughan Williams­like air. Cassuto and the Northern Sinfonia give it a spirited account‚ not quite so polished as Turovsky‚ but preferable‚ as with the Sinfonietta (1963)‚ to Minsky on Schwann. Another‚ rather different‚ folk influence at work in this latter piece is that of Bartók‚ with what sounds to me like a clear allusion to (if not a quote from) The Miraculous Mandarin in the finale. Cassuto suggests in his note that the mark of the New Viennese School is present in the Sinfonietta’s central Adagio‚ and a more Expressionist aesthetic is certainly apparent in the Variations concertantes (1967). Its soundworld is altogether more polyphonic and severe‚ despite the presence of the harp. Its seven sections make for a fascinating listen and the composer applied the lessons learned into the more extrovert and approachable Concerto for violin and cello (1968). Here the textures are richer and the slow­fast­slow pattern gives the work a very different character to its companions. If Turovsky remains first choice for the Concerto in D‚ this issue is in every respect very recommendable‚ the Northern Sinfonia’s virtuosity matched by Andrew Walton’s fine sound. A splendid disc.