The magnificently rewarding Berkeley Edition under Richard Hickox comes to an end with major works by both father and son. Lennox Berkeley's Two-Piano Concerto was written for Phyllis Sellick and Cyril Smith, who gave the first performance in 1948. It ought to have brightened up the grim years of post-war austerity but it has never become a repertoire piece. The first recording with Gareth Beckett and Boyd McDonald, with the LPO under Norman Del Mar in 1975 (Lyrita, not yet issued on CD) still sounds acceptable but Hickox, as quite often in his Berkeley interpretations, takes things faster, shaving almost four minutes off Del Mar's timing. This seems justified, with all attacks taut and both soloists neatly and precisely engaged throughout. After the short first movement there is an extended theme and variations ranging from tragedy to parody and including waltzes close to Ravel and even Chopin. Altogether an enchanting work from a vintage period.

Michael Berkeley is represented by two works, one early and one recent. The Gregorian Variations (1982) reflect his background in plainsong as a chorister at Westminster Cathedral. After an imposing launch with tubular bells, the melodies are put through all sorts of paces in a plethora of inventive textures including saxophones and riffs that might have come from Bernstein. Free-ranging juxtapositions involving syncopated plainchant make this a fascinating assembly: bombastic at times but it works.

The Concerto for Orchestra, subtitled Seascapes, was a BBC commission for the Proms in 2005 and is dedicated to Richard Hickox. As a response to news of the death of Jane Attenborough and members of her family in the Tsunami, the elegiac slow movement memorably catches the mood of that horrifying moment. It contains a trumpet solo written for and brilliantly delivered by Phillipe Schartz. The outer movements seem anxiously hyperactive, vividly displaying the orchestra's prowess but with a portentous minor ending.