Having lavished such sensitive and heartfelt advocacy on Edmund Rubbra‚ Richard Hickox and his admirable BBC National Orchestra of Wales now turn their attention to the output of another largely unsung‚ home­grown master‚ Frank Bridge (1879­1941). Especially valuable here is the passionate‚ scrupulously prepared rendering of Isabella‚ a red­blooded tone­poem very much in the Liszt/Tchaikovsky mould premièred in October 1907 under Sir Henry Wood. Truth to tell‚ I’d forgotten just what a strong piece this is (that ravishing oboe melody representing the eponymous heroine will haunt you for days‚ I promise)‚ and Hickox does it absolutely proud. He also extracts every ounce of eloquence from Mid of the Night (completed in October 1903 and first conducted by the 24­year­old composer the following May). According to annotator Paul Hindmarsh‚ Hickox’s is only the second performance ever of this fascinating discovery‚ a colourful and atmospheric 26­minute essay whose architectural and technical assurance is perhaps not quite matched by a comparable melodic distinction. The pleasures continue with the delectably resourceful Two Poems of 1915‚ the subtle half­lights and penetrating harmonic scope of the first (to my mind‚ one of the most raptly poignant evocations of nature in all British music) forming a vivid contrast with the joyous clangour and contrapuntal ingenuity of the succeeding scherzo. I have long loved this exquisite diptych‚ and the present affectionate account makes a welcome digital successor to Nicholas Braithwaite’s Lyrita version (1/80 – nla‚ still awaiting transfer to CD). As for the exuberant‚ utterly intoxicating masterpiece that is Enter Spring‚ Hickox’s polished‚ vigorous and bright­eyed conception leaves perhaps an ever­so­slightly literal‚ swagger­free impression by the side of Britten’s riveting interpretation with the New Philharmonia from the 1967 Aldeburgh Festival. Moreover‚ in this same item‚ the last degree of transparency occasionally remains elusive in Chandos’s otherwise characteristically ripe and realistic sound­picture: to cite one example‚ I’d have liked to hear more of the suspended cymbal and bass drum during the climactic statement of the big central processional from fig 30 (11'59"). Tiny quibbles aside‚ this is a very good disc indeed – a fine start to an important project. Further helpings are eagerly awaited.