Boston Modern Orchestra Project’s first CD devoted to Anthony Paul De Ritis (b1968) was warmly received in these pages (10/12). This follow-up concentrates on works dating from 2013 14, though the most immediately appealing and effective is Amsterdam, a vibrant overture-cum-toccata originally commissioned in 2004 to include electronics (which malfunctioned at the premiere) but given here ‘straight’. Riflessioni, a dark and minatory concerto for bassoon, electronics and orchestra, provides stark contrast. Written for bassoonist Patrick De Ritis (who may or may not be – some generations back – a relative of the composer), Riflessioni compellingly ‘reflects’ the lyrical and the aggressive, the stable and the unstable, light and dark, and sustains its length throughout, something the overlong and Coplandesque Ballet (his dissertation piece in 1997, given here in its 2013 chamber orchestral version), for all the advocacy of the players, does not manage.

The Pop Concerto is light and inoffensive; reworkings of four key pop songs of the composer’s youth. Fisk renders its challenging solo part superbly but much of the orchestral writing is bland. U2’s ‘Beautiful day’ comes off best, its essential lyricism caught by the sensitive transcription, but Seal’s ‘Bring it on’ and particularly Alanis Morrisette’s blisteringly angry ‘You oughta know’ misfire completely. I had not appreciated before how much the concluding ‘The way you make me feel’ (Michael Jackson) is a rip-off of ‘On Broadway’. Pop songs do not usually transfer well to the orchestra: all too often they just sound lame, the aural equivalent of Dad Dancing at the local disco (and as the father of two girls now in their twenties, I know whereof I speak)! I have nothing but admiration for the performances throughout, and for the fine sound.