Bernhard Crusell was regarded as the outstanding clarinet composer/virtuoso of his time (the turn of the 18th century into the 19th), and he left us three highly diverting concertos for his instrument. He likes to open with an almost Beethovenian orchestral ritornello but the works later pay their respects to Mozart’s masterpiece; and there are also hints of Hummel and Krommer, plus the sparkle of Rossini. As a soloist he never played Weber, yet the lovely melody of the Andante of the earliest E flat Concerto has an almost operatic line. Indeed his writing is agreeably tuneful and he liked to spin a melody over a pizzicato bass creating a beguilingly atmospheric effect, while the finales for all three works are infectiously jaunty.

Okko Kamu provides lively and supportive accompaniments; Martin Fröst has the full measure of this delightful music and ably scales the virtuoso roulades, while often playing the lyrical tunes on their reprise very gently and touchingly. The bravura pyrotechnics of the finales are presented with aplomb. The recording is well balanced, perhaps a trifle over-resonant, especially when using the back speakers on SACD equipment which, however, adds an attractive concert-hall ambience. But the reproduction is impressive also for two-channel listening.

There is already plenty of competition in the present catalogue, with all three works infectiously played by Emma Johnson on ASV (for which I have a very soft spot), dazzlingly presented by Kari Kriikku (Ondine, 1/01) at the fastest possible tempi, and hardly less exhilarating in Anthony Pay’s recording on a period instrument (Virgin, 12/93R). But many collectors might opt for Thea King’s beautifully played, more measured, more serious approach, rich in timbre (Hyperion, 8/85R, 7/86R). Which to choose? I’ll have to leave that to you.