Dedicated to that great British violinist Albert Sammons‚ the first of Bantock’s three violin sonatas was penned in 1928­29 and actually appeared in print a year before its first performance (part of a BBC broadcast from June 2‚ 1930‚ with Sammons accompanied by the composer). It’s a work of strong appeal‚ whose clean­cut‚ songful demeanour would seem tailor­made for its legendary dedicatee’s wonderfully sweet timbre; but somewhat surprisingly‚ given its lyricism and thematic resourcefulness‚ it failed to secure a place in the repertoire. The opening movement of its D major successor followed quickly in April 1929‚ but it was another three years before the two remaining movements were completed. Annotator Lewis Foreman tells us that Bantock then filed the manuscript away until 1939‚ when Arthur Catterall (leader of Boult’s magnificent BBC Symphony Orchestra) requested a new work. Again‚ the Sonata was promptly published and premièred on the BBC on July 7‚ 1940‚ but it sank into total oblivion thereafter – a great pity in view of its bright­eyed vigour‚ deftness of touch and impeccable craftsmanship. Two shorter pieces bring up the rear: originally conceived for strings‚ organ and harp‚ Coronach (1918) is a wistful elegy in memory of a friend who had perished in the trenches three years previously; the contemplative Salve Regina is based on a plainsong melody Bantock had heard in Canada during the summer of 1923. Inquisitive readers need not hold back‚ for these interpretations from Lorraine McAslan and Michael Dussek are consistently compelling and sure­footed. With admirable production­values from the trusty Ponder/Faulkner team‚ this is another winning addition to what is turning out to be an invaluable series.