Walton's musical thought continues to deepen, with each movement taking the listener further into the tangle of complexities that the music has to offer, his spirited performance...closely channelling Rostropovich himself.

Walton’s second movement ‘Fuga’ is richly mellifluous, and actually sounds likes a fugue. An achievement in itself! More remarkable still are the three movements entitled ‘Canto’: Walton invests these with more significance than is usually heard, particularly the third, which is here dark and more foreboding.

I greatly enjoy Walton’s at times almost teasing playfulness with Britten’s solo masterpieces, and in terms of technique and impressive expressive depth he ticks pretty much all the boxes.

None of this music holds terrors for Walton, with his big, bold tone and formidable technique.