f Honeck’s interpretative tendency is to emphasise the score’s purely symphonic credentials, he still keeps one foot in the ballet theatre – witness the way he magics the slow movement’s long phrases; and the scherzo’s delightful pizzicato ripplings seem to conjure a choreographic scenario…Leshnoff’s soundworld, unashamedly tonal, possesses a melodic sensuality and textural piquancy reminiscent of Tchaikovsky’s great Russian contemporary, Rimsky-Korsakov.

[Leshnoff] gloriously beautiful and quite possibly a masterpiece, though that judgment will have to be left to time.