The four works on this release, two of them showcasing the talents of the late Ernst Ottensamer, were all composed in the 1940s. Ottensamer, for many years principal clarinettist of the Vienna Philharmonic Orchestra and the founder of a number of chamber ensembles, provides a compelling and idiomatic account of the Copland Concerto. His playing is as deeply felt in the elegiac first movement as it is free and extrovert in the jazz-inspired second, and the orchestral support under Richard Stamp’s direction is superb.

Unlike most recordings of the Appalachian Spring Suite, which use the arrangement for symphony orchestra made by Copland in 1945, the version recorded here uses the chamber scoring of the full-length ballet, completed the year before. The original features flute, clarinet, bassoon, piano and nine strings but Copland’s preface to the score authorises the use of additional strings, which is what Stamp uses, as does the version by the Orpheus Chamber Orchestra (DG, 8/89). The latter is exceptionally fine, but Stamp’s performance is also very persuasive and the flute-playing during the slower passages is memorably poetic.

For the performance of Strauss’s Duett-Concertino, Ottensamer is joined by bassoonist Stepan Turnovsky, also a longtime member of the Vienna Philharmonic. With affectionate and honeyed playing by the two soloists and an expressive contribution from the strings under Stamp, this is a top contender for anyone wanting a recording of this work. The Prelude to Capriccio also receives a most eloquent and moving performance.

The booklet note indicates the Strauss works were recorded as long ago as 1991 and 1990 respectively, although as far as I can tell this is their first commercial release. Whatever the reason for the long delay, it’s good that these fine performances are now available. The sound quality in both performances is excellent, as it is in the Copland works, recorded more recently in 2014.