What could be more experimental on the ultra-pluralistic contemporary scene than a composer unconcerned with individuality? For much of the time, David Bedford’s Recorder Concerto offers the kind of discreetly accompanied scales and arpeggios that have been standard issue from Vivaldi to Malcolm Arnold. But surely the post-modern aim is to create a false sense of security, to proceed from quotation to deconstruction? Well – not really. There are occasional features which can be explained in terms of Bedford’s robust musical past – rhythmic patterns deriving from pop music, even the odd noise-like instrumental effect. But this concerto has made its peace with history. It tells you to forget about progress, and to accept that, after a century of exceptional storm and stress, this is the only kind of music that comes naturally.
Piers Adams and the strings of the BBC SO, the ever-adaptable Martyn Brabbins at the helm, make sure that the Concerto’s natural sparkle and sense of fun come across. The recording places the soloist well to the fore, his progress across the five movements from bass to sopranino plain for all to hear. In the end, ironically, it is the total lack of radical edge that is so personal. Bedford’s Recorder Concerto may be disconcertingly genteel, but it is definitely not anonymous.'