David Lloyd-Jones directs a swaggering, affectionate and ideally clear-headed account of Rawsthorne's masterly Symphonic Studies (1939), one of the most stylish and exuberantly inventive products of British music from the first half of the last century. The work's formal elegance, impeccable craftsmanship and healthy concision are exhilarating. It's an impressively assured orchestral début, its tightly knit 20- minute span evincing a remarkable emotional scope. The present performance is a great success, a worthy successor, to both Lambert's classic 1946 Philharmonia version (now happily restored on Pearl) and Pritchard's admirable 1975 Lyrita recording with the LPO.
First heard at the 1947 Cheltenham Festival, the Concerto for Oboe and String Orchestra was composed for Evelyn Rothwell. Brimful of gentle melancholy, it's another delectably cleancut creation, whose touchingly eloquent first movement is succeeded by a wistfully swaying, at times cryptic Allegretto con morbidezza and a spirited, though never entirely untroubled Vivace finale. Impeccable solo work from RSNO principal oboe Stéphane Rancourt and a spickand- span accompaniment to match.
There's another first recording in the guise of the Cello Concerto (1965). This is a major achievement, a work to rank beside Rawsthorne's superb Third Symphony and Third String Quartet of the previous year in its unremitting concentration and nobility of expression. A strongly lyrical vein runs through the notably eventful, ever-evolving opening movement, whereas the central Mesto mixes dark introspection with outbursts of real anguish.
The clouds lift for the rumbustious finale. A substantial, deeply felt utterance, in short, which will surely repay closer study. Soloist Alexander Baillie gives a stunningly idiomatic rendering; Lloyd-Jones and the RSNO offer big-hearted, confident support. Apart from a hint of harsh- ness in the very loudest tuttis of the Symphonic Studies, Tim Handley's engineering is immensely vivid and always musically balanced. Overall, a wonderfully enterprising triptych.

Alexander Baillie has the full measure of the [Cello Concerto's] breadth and sweep. David Lloyd-Jones is a masterly and persuasive advocate of this music.

The Symphonic Studies of 1939, his first orchestral score, is richly rewarding, extremely well composed and deftly scored. But beyond that, the content is attractive and compelling. David Lloyd-Jones conducts a magnificent performance.