Koechlin fans have good reason to welcome this disc‚ containing all 15 of the Etudes‚ Op 188 and seven of the pieces from Op 180 which the composer arranged from their original horn and piano format. Mondelci is equal to all Koechlin’s demands (as usual with this composer‚ considerable) while Kathryn Stott matches him in fluency and accuracy. Beyond that‚ I find it hard to say much that is positive. Some of the cheerier pieces are quite fun. But after 20 minutes or so‚ I felt that if I heard another scale­based phrase I might start to scream; and‚ as with many French composers of his era‚ a 6/8 or 12/8 time signature is often a particular danger sign. Edward Blakeman makes a brave shot in his insert­notes at integrating Koechlin into a Fauré­ based tradition‚ claiming finally that Koechlin was ‘a true son of his teacher and mentor’. But sons‚ true or otherwise‚ aren’t always a match for their fathers. Most of all‚ I react badly to this music’s propensity to trundle‚ often filling space that would have been better left empty. Still‚ as I say‚ this disc may find a warmer welcome among those enthusiasts who have for years complained of Koechlin’s music being sidelined and denigrated by critics such as